IS- 


Newman  Catechism 

ON 

Classical  Dancing 


REVISED  SECOND  EDITION 


Albert  W.  Newman 

Director  of  the  Newman  Normal  School  of  Dancing, 

Ballet    Master  of  the   Newnnan  Ballet,   Official 

Dance  Director  of  the   Pageant  Society  of 

America,    Member    of    the    Imperial 

Society    of    Dancing    Masters, 

London,    Academie   de    Danse, 

Paris,  France,  etc. 


NEWMAN  DANCE  PUBLISHING  CO. 

PHILADELPHIA,  PA. 


Theo.  Presser  Co.^ 

Philade-phia,   Pa. 


aljifl  Work  ta  KeopprlfiiUij  Srliiratri» 
to  ti|e 

Jparnrl|tal  ^rlimila 

anft  til  all  inn 

i'tuiinita  ixwh  (EnllpagucB 

lulio  arr  alrtiunii  to 
rlntate  lljc 

(Ifrpmrl^nrfau  Art 


COPVRK.HT    19'2'J 

ALBERT  W.  NEWMAN 


All  riglils  reserved 

including  that  of  translation 

into  foreign  languages 


'All  Th\  Mo-ucmenis  Shall  be  Those  of  Grace 


ALBERT    W.    NEWMAN 

BALLET    MASTER 


The  Half-tones  in  this  Book 

are  taken  from 

Photographs  of  the  Students  of  the  Neivman 

Normal  School  of  Darning 


FOREWORD 


The  chief  object  in  presenting-  this  work  to  the  pro- 
fession is  to  furnish  practical  assistance  to  the  student, 
teacher,  and  dancer,  and  to  those  who 
are  taking-  up  the  subject  scientifically 
as  a  Physical  Culture. 

It  is  to  enable  the  student  to 
acquire  a  finished  technique  and  to 
<)l)viate  the  difficulties  that  may  arise 
through  home  practice. 

This  book  contains  the  fundamen- 
tal principles  of  the  Birth  of  the  Dance 
in  a  condensed,  complete  and  compre- 
hensive form.  It  contains  authentic 
answers  to  the  numerous  questions 
which  have  been  asked  by  the  stu- 
dents of  the  Newman  Normal  School 
of  Dancing  during  many  years  of  my 
practical  teaching,  and  are  given  in  accordance  with 
the  Newman  System  of  Dancing,  which  is  based  upon 
the  foundation  of  the  French,  Italian,  Russian  and 
Greek  Schools. 

The  various  subjects  have  been  alphabetically 
arranged  in  a  i)ractical  form  for  teachers  in  pre})aring 
their   examinations. 

This  Text  Book  further  embodies  valuable  infor- 
mation whicli  has  been  obtained  through  diligent  study 
with  tiic  most  renowned  European  Masters  and  through 
personal   research   and   ex])erience. 

It  also  contains  a  treatise  on  technique  witli  tletini- 
tions  and  explicit  descriptions  of  the  French  Terms 
and  their  phonetic  pronunciation. 

It  is  my  intention  to  take  the  student  through  the 
various  elementary  l)ranches  which  constitute  tlie 
Grammar  of  the  (^lassie  Dance,  tlie  foundation  of  every 
form  of  (hnicing.  I  tliorongldy  believe  it  necessary  to 
acquii'e  a  certain  degree  of  pliysictd  sti'eiigth  before 
one  can  fully  exjjress  the  emotions  with  ease,  gr.ice  and 


6 

absolute  control  of  the  body.  Therefore,  certain  tech- 
nical difficulties  must  tirst  be  overcome  which  the  exer- 
cises herein  described  will  undoubtedly  brini>'  about.  It 
is  true  that  the  most  renowned  cxpoiiciils  of  the  Classio 
Dance,  or  those  who  exi)loit  the  tlu mux  of  Nature  Danc- 
ing, have  begun  their  studies  witli  the  same  methods 
as  those  employed  in  the  old  French  and  Italian 
Schools  of  I>allet.  It  is  this  system,  in  addition  to  the 
Hellenic  School,  that  has  made  the  Russians  famous  as 
Terpsichorean  artists. 

So,  being  desirous  of  contributing  my  mite  to  the 
advancement  of  the  Art,  and  in  compliance  with  the 
wishes  of  my  students,  I  now  humbly  submit  this  work 
for  their  approval,  with  the  hope  that  they  will  fmd  in 
its  pages  much  material  that  will  prove  valuable  to 
them. 

Albert  AV.  Newman. 


"Yet  while  we  live   let's  merry  be,  and   make  of  care 

a  jest, 
Since  we  are  taught  what  is  right;  and  what  is  right 
is  best." 


THE  DANCE 

^Tho  dance  is  a  physical  effort  in  wliicli  a  senti- 
ment is  expressed  through  the  rhythmic,  harmonious 
movements  of  the  body;  a  truly  natural  instinct.  There- 
fore, it  must  embody  more  than  a  series  of  graceful 
movements.  It  must  make  these  movements  mean 
something;  then  it  will  enthrall  and  be  a  memorable 
pleasure.'"^  C^ojisidering  the  fact  that  men  and  women 
of  intelligence  are  now  taking  up  the  study  of  dancing 
scientifically,  leads  one  to  hope  that  it  will  soon  receive 
the  same  prominence  as  it  did  in  the  days  of  the  ancient 
Greeks.  Then  the  entire  nation  will  be  benefited  by 
its  practice,  both  morally  and  physically. 

It  should  not  appear  conventional  or  artificial,  as 
in  Social  Dancing,  or  over-elaborated  step  dancing,  for 
in  both  these  styles  it  is  lost  as  a  line  art  and  should 
only  be  regarded  as  an  amusement,  or  exercise,  and 
though  it  still  remains  an  enjoyable  pastime,  its  great- 
est power  as  an  educative  art  is  lost.  Isadora  Duncan 
says:  "To  see  in  the  dance  no  more  than  a  frivolous 
or  agreeable  diversion  is  to  offer  an  insult  to  the  God- 
dess Terpsichore." 

-^^  Dancing  has  always  occupied  a  most  prominent 
place  among  the  fine  Arts.  Being  closely  allied  with 
Music,  Sculpture  and  the  Drama,  it  affords  exceptional 
opportunities,  with  unlimited  resources,  particularly 
in  the  direction  of  emotional  expression.  The  psycho- 
logical effect  of  dancing  is  as  beneficial  as  its  physical 
effect.  Dancing  has  been  acknowledged  from  time  im- 
memorial as  the  Art  of  Grace  and  tlie  Poetry  of 
Motion;  the  most  pleasing  of  entertainments  and  the 
rtiost  ]io])nlar  of  jill  anuisements.  '  It  is  the  one  accom- 
])lishment  which  gives  to  man  the  power  to  display,  to 
the  best  possible  advantage,  the  beauty  of  form  and 
the  exquisite  grace  witli  which  he  h;is  been  endowed. 
Not  only  does  dancinu'  keep^  the  figure  lines  trim  and 
youtlifnl.  but  it  ])ro(hic(^s  a  grace  and  ])oise  of  the 
body  lliai  llic  mere  acciuircment  of  nnisclc  and  llic  siili- 
duing  of  (lesh  can  never  accomi)lisli.  As  an  exercise 
lliei'e  is  none  so  beneiicial,  for  the  strengtli  required 
for  the  various  movements  comes  so  graihial  lliat  there 


is  no  danger  of  ovei'strain.  The  ^vo^ld-^vi(lo  move  to 
revive  the  Classic  Art  of  Dancing  is  to  pre-eminently 
restore  the  intelligent  and  deliglitfnl  impi'essions,  and 
to  preserve  the  traditional  and  inherent  dramatic  qual- 
ity. It  is  not  to  be  overlooked  that  the  dance  demands 
as  precise  a  technique  as  any  other  Art. 

Novcrre  (Letters  sur  la  Danse  et  les  P)allets  IKiO) 
required  that  "the  dancers  should  emulate  to  combine 
the  perfection  of  the  mechanical  execution  with  the 
talent  of  consummate  actors  and  that  their  counte- 
nances, attitudes,  gestures  and  all  their  movements 
shcmld  depict  the  varial)leness  of  the  sentiments  that 
move  the  soul." 

Dancing  requires  suppleness,  energy,  and  breath 
cai)acity,  and  necessitates  practice  of  a  sort  that  will 
produce  good,  firm,  elastic  muscle.  ">  Incidentally,  it 
makes  one  agile  and  sure-footed,  and  through  thou- 
sands of  years  has  been  the  source  of  much  harmless 
amusement. 


DANCING  AS  A  PHYSICAL  CULTURE 

Classic  Dancing  has  much  to  recommend  it  as  an 
intellectual  and  enjoyable  form  of  Physical  Culture, 
and  it  is  strange  that  not  until  recent  years  did  the 
Directors  of  Physical  Training  recognize  it  as  such, 
and  acknowledge  its  rare  qualities.  It  now  comprises 
a  most  im])ortant  ])art  of  the  Ti'aining  Course  in  evei-y 
school  and  college  throughout  the  country  where  Physi- 
cal Culture  is  taught. 

In  many  cases  of  Physical  Training  where  appara- 
tus is  used,  the  woi'k  is  too  severe  for  most  girls,  and 
the  consequence  is  spi-ained  or  over-trained  muscles, 
and  we  know  of  a  numbei-  of  cases  whei'e  more  sei'ious 
results  have  followed. 

These  stremious  methods  ])roduce  protruding  mus- 
cles and  bi'utc  st  I'cnutli ;  l)ut  ik  xcr  gi'acc  and  supple- 
ness, 'i'licy  make  one  si  iff  and  awkward,  and  in  oi-cjci- 
to  of^'sct  soiUi'  of  these  harmful  elfects,  Dancing'  has 
})een  inti'oduced  into  many  Physical  Cultui'e  ('oui'ses; 
but  only  as  a  side  issue,  and  is  pi'acticed  in  a  dilatoiy 


and  unfinished  manner.  The  instruction  is  not  explicit, 
and  too  often  it  is  regarded  by  the  pupil  as  an  amuse- 
ment. 

These  assertions  have  been  substantiated  by  a 
leading  authority  on  Physical  Training,  and  he  further 
states  that  Physical  Culturists  are  the  most  ungainly 
dancers.  This  fact  is  also  demonstrated  in  our  own 
school  by  these  students  who  acknowledge  their  inabil- 
ity to  compete  with  the  girls  who  are  practicing  relaxed 
dancing  to  the  exclusion  of  the  rigid,  tense  and  con- 
tracte(i  methods  emi)]oyed  in  Physical  Training. 


ADVICE  TO  THE  BEGINNER 

After  discovering  that  you  possess  a  love  for 
Dancing,  the  first  and  most  important  thing  to  do  is  to 
place  yourself  under  the  guidance  of  a  thoroughly  com- 
petent teacher.  The  study  of  Dancing  has  such  a 
powerful  infiuence  on  the  mind  and  body  that  a  good 
beginning  is  most  essential.  Always  bear  in  mind  that 
you  are  studying  an  Art  and  not  a  frivolous  sort  of 
thing  that  is  here  today  and  gone  tomorrow.  Buck 
and  Wing  and  Jazz  will  never  educate  you  in  Interpre- 
tative Dancing  or  the  I'lassic  Ballet. 

Whether  you  are  taking  up  dancing  as  your  voca- 
tion or  as  an  amusement,  be  conscientious,  persevering, 
refined  and  nicxk'st  in  all  your  undertakings  and  by  all 
means  try  to  cultivate  the  artistic  and  poetic  side. 

Do  not  believe  in  "picking  it  up"  as  some  have  at- 
tempted to  do.  We  often  encounter  these  unsophis- 
ticated girls  who  claim  they  have  never  had  a  teacher. 
These  are  self-instructed  victims  who  only  })erform  a 
few  i)et  steps  and  movements  which  they  have  copied 
fi-om  dancers,  and  are  generally  badly  executed;  all 
their  (hiiices  consist  of  tlie  same  movements,  which  de- 
notes a  lack  of  study. 

I  have  n<>v(M-  known  a  great  dancer  who  was  self- 
taught  or  who  li;i(l  not  i-eceived  the  foundation  of  the 
Ai't  from  a  master  or  his  woi'ks,  and  wlint  is  more,  he 
or  she  is  always  ])i'oud  to  admit  it. 

After  the  stucU'iit    has  aciiuircd    the    t'uiKhunciital 


10 

tec'liiiiqiie  tlio  iiRli\i(liiality  can  be  expressed  and  the 
imagination  strengthened;  but  not  before. 

All  attractive  appearance  and  a  pleasing  personal- 
ity are  two  of  the  most  valuable  assets  to  a  dancer. 

A  number  of  cases  could  here  be  mentioned  regard- 
ing noted  dancers  who  have  worked  against  great  odds, 
such  as  slight  physical  deformities,  lack  of  tempera- 
ment, no  ear  for  music,  etc.,  yet  by  persevering  and  fol- 
lowing the  instructions  of  a  master,  they  surmounted 
these  obstacles  and  were  eventually  crowned  with  suc- 
cess. Remember,^ practice  brings  experience;  experi- 
ence brings  confidence,  and  confidence  brings  the  fin- 
ished artist.:. 

There  has  never  been  a  noted  ihuicer,  a  great  mu- 
sician or  a  great  artist,  who  has  won  fame  without  a 
thorough  knowledge  of  technique. 

Do  not  be  misled  by  the  idea  that  you  can  achieve 
greatness  without  study  and  without  the  correct  appli- 
cation and  strict  observance  of  the  true  fundamental 
rules  governing  the  Terpsichorean  Art.  New-fangled 
ideas  and  all  sorts  of  electric  methods  are  continually 
springing  forth,  which  for  a  time  seem  to  attract,  but 
then  quickly  sink  into  oblivion. 

The  much  advertised  system  of  Nature  Dancing 
which  recjuires  absolutely  no  technicpie,  no  practice  and 
no  study  of  any  kind  is  simply  a  means  of  extorting 
money  from  poor  victims  who  wish  to  do  great  tilings 
without  any  ])relimiiiary  study.  It  has  been  ])roved 
that  many  of  the  systems  of  Rhythmic  Exjiressioii 
which  are  from  time  to  time  being*  introduced,  and 
which  are  supposed  to  revolutionize  Dancing,  have  so 
far  done  very  little,  if  anything,  toward  producing  the 
finished  artist. 

"There  is  no  royal  road  to  success  save  through 
work."  Remember  that  after  the  practical  side  of 
Dancing  has  been  mastered,  the  Poetic  side  should  be 
carefully  considered  and  the  imagination  develo])ed. 
Too  often,  T  fear,  the  imagination  of  the  student  is 
checked,  rather  than  develo|)ed,  ])y  the  ])ainstaking  ef- 
forts of  tlie  teachei"  to  show  "how  and  why"  a  work  is 
a  mastei'])iec(',  when  it  would  be  more  to  his  artistic 
salvation  wei'.'  jic  made  to  feci  its  inllucncc. 

Let  US  recall  to  mind  that   bct'oi'c  nio\'inu'  the  leg. 


11 

the  step  should  be  thoroughly  understood  by  the  brain, 
which  will  then  transfer  it  to  the  muscles.  The  eyes 
must  not  see  what  the  feet  do ;  they  must  be  guided  by 
the  mind  absolutely. 

It  is  hardly  necessary  to  impress  further  on  the 
minds  of  the  student  that  all  the  steps  and  movements 
must  be  executed  in  strict  accordance  with  the  rhythm 
of  the  music,  and  students  should  give  more  time  to  the 
Port  de  Bras  than  to  any  other  branch  of  the  work. 

In  order  to  express  an  emotion  it  is  necessary 
to  bring  about  a  physical  effort,  therefore  the  various 
parts  of  the  body  must  be  so  strengthened  as  to  carry 
out  the  will  of  the  mind.  The  exercises  have  been  ar- 
ranged progressively  and  combined  with  an  extensive 
treatise  on  Port  de  Bras,  or  the  proper  manner  of  arm 
movement,  gesticulation  and  pantomime,  the  true  art 
of  expression  or  the  language  of  motion.  All  technical 
terms  in  dancing  bear  French  names  and  we  cannot 
do  better  than  to  retain  the  same  and  learn  to  pro- 
nounce them  properly.  Bear  in  mind  that  the  success 
of  a  dance  depends  upon  its  execution.  In  other  words, 
''It  is  not  so  much  what  you  do,  but  how  you  do  it." 

It  is  very  gratifying  to  say  that  the  First  Edition 
of  this  work  has  quickly  found  its  way  into  the  hands 
of  the  most  ])r(nninent  teachers  and"  dancers  of  the 
world,  including  a  number  of  Russian  Dancers  who 
have  unanimously  ])ronounced  it  a  Text  Book  of  ex- 
ceptional merit. 

Its  rapid  sale  has  ])rompted  the  writer  to  issue 
tliis  Second  Edition  which  has  been  greatlv  enlarged 
and  revised  in  accordance  ^dth  the  rapid  rise  of  the 
Standard  of  the  Classic  Ballet. 

The  Xewman  System  of  Classical  Dancing  em- 
bodied in  this  Catechism  is  also  taught  at  the  following 
Universities  and  Schools:  Brvn  :\rawr  College", 
Swarthmorc  CoUege,  Ogontz  School,  TempU^  Cniver- 
sity,  Lititz  Seminary,  Fniversitv  of  Pennsvlvania, 
(Summer  School),  Fniversitv  of' Pittsburgh  '  Girard 
College,  Y.  W.  C.  A.,  Chester,  !>;,.,  Castle  Scjiool,  X.  Y. 

IIambnrgCons(M-vat(>ry,T()r()iito,(^niada, State  Xormai 
Scliools,  Bca(]iim'  and  Shii)i)cnsburg,  Pa.,  High  School 
(  abr..niia,  V.  W.  C.  A.,  Tokio,  Japan,  and  manv  others' 


12 


ADVICE  TO  YOUNG  TEACHERS 

TIr'  iiR'thod  ol'  Icacliini;'  dancing  is  as  imi)()rlanl 
as  ihc  (lance  itself. 

The  })r()fessi()n  has  attracted  hundreds  of  young; 
men  and  Avomen  in  the  Tnited  States  during  the  past 
few  years,  whose  main  object  has  beeii  to  acquire  as 
much  money  as  possible,  with  the  little  or  no  knowl- 
edge they  possess.  Tliey  say,  "1  do  not  wish  to  be- 
come a  great  dancer;  just  give  me  a  few  lessons,  about 
ten,  so  that  I  will  be  able  to  teach." 

The  idea  of  "knowing  enough"  is  sufficient,  in 
tlu'ir  minds,  to  teach  the  art  of  dancing  intelligently. 

There  is  no  more  ])athetic  spectacle  than  to  see  a 
grade  teacher  trying  to  instruct  a  class  of  children  in 
dancing,  when  she  is  totally  unable  to  demonstrate  a 
movement  properly. 

He  who  contemplates  becoming  a  teacher  should 
first  be  a  dancer,  as  dancing  is  an  art  which  can  be 
better  understood  by  a  practical  demonstration  than 
by  a  lengthy  theoretical  descri])tion. 

In  Kurope  one  never  teaclies  until  he  has  l)een  a 
dancer.  But  here  in  America,  it  seems  to  be  just  the 
reverse;  they  teach  before  they  have  actually  mastered 
the  art.  It's  the  wrong  way  around,  to  be  sure.  That 
is  why  there  are  so  many  poor  dancers  and  so  many 
cheap  and  inexjierienced  teachers.  Yet,  we  hear  of 
teachers  who  cannot  dance  and  are  considered  fairly 
successful,  but  their  success  is  not  far-reaching.  Others 
again,  who  are  dancers  have  not  the  patience  to  teach 
intelligently,  lacking  both  individuality  and  magnetism. 
Another  gi'ade  of  teacher  is  the  one  who  goes  out  of 
town  to  take  a  summer  course  or  a  so-called  s])ecial 
teachers'  course  of  a  few  lessons,  which  includes  a 
diploma.  Obtaining  the  dii)loma  is  the  princi])al  object 
and  after  I'cceiving  it,  study  is  a  thing  ol'  the  ])ast. 
Kemembei-,  a  di|)loma  or  a  letter  of  recommendation 
will  not  hold  youi'  position  uidess  you  can  make  good. 
M\'  ad\'ice  is  to  keej)  on  studving.  There  is  no  end  to 
a  r't . 

When  Nou  take  up  the  study  of  dancing  as  your 
])rofession,  > ou  nuist  be  perfectly  willing  to  devote  your 


13 

entire  life  to  it,  then  you  cannot  fail;  yonr  success  will 
be  assured.  Do  not  overlook  the  fact  that  dancing- 
will  require  also  the  study  of  music,  and  the  more  you 
understand  music  the  better  able  you  will  be  to  ar- 
range your  dances,  and  your  interpretative  work  will 
become  more  intelHgent.  It  surely  will  be  a  great 
handicap  if  you  are  not  a  thorough  musician. 

The  one  reason  why  Foreign  Dancers,  surpass  our 
own  products,  is  that  they  possess  a  superior  knowl- 
edge of  music,  which  enables  them  to  interpret  the 
most  difficult  passages  with  the  greatest  assurance 
and  ease. 

Furthermore,  it  is  of  paramount  importance  that 
a  thorough  knowledge  of  the  English  language  be  ac- 
quired before  one  attemi)ts  to  teach  any  art.  It  seems 
strange  that  in  no  other  calling  is  good  English  so 
lacking  as  in  the  Dancing  Profession.  This  condition 
should  not  exist,  as  the  close  contact  of  teacher  and 
l)upil  requires  full  mastery  of  expression  and  an  ex- 
tended vocabulary,  as  a  knowledge  of  Dancing  alone 
is  not  sufficient  for  success. 

Foreign  Artists  possess  all  these  requisites,  and 
have  retained  their  success  through  their  versatile 
powers,  and  higher  education,  which  has  always  given 
them  entree  into  the  Courts  of  Europe.  Pavlowa  says, 
"Take  all  Arts  that  are  related  to  Dancing  and  make 
a  rule  that  all  students  in  dancing  should  have  at  least 
an  elementary  training  in  anatomy,  in  sculpture,  drama, 
architecture,  painting,  music  and  in 'general  educational 
subjects."' 

Teachers,  keep  your  students  on  the  fundamental 
exercises  in  side  and  center  practice.  Port  de  P>ras  and 
enchaiiiements  as  long  as  you  ])ossibly  can.  Then,  after 
all  the  technical  difficulties  have  been  mastered,  the 
next  important  thing  is  to  stimulate  the  imagination, 
so  that  the  poetic  side  is  expressed.  Teach  them  al- 
ways to  have  high  ideals  and  to  iiiter])ret  only  the  beau- 
tiful classics  of  the  celebrated  masters. 

Study  the  individuality  of  each  ])upil  and  do  not 
teacli  every  one  alike.  This  will  make  >-our  work 
varied  and  interesting,  and  although  adhering  to  the 
genei-al    I'outine   of   ])i'aeti('e,   the   exercises   can   be    so 


14 


changed,  from  day  to  day,  that  they  will  appear  new, 
by  changing  the  rhythm  oi"  the  nuisie,  or  inti'odncing 
different  arm  movements. 

Do  not  hurry,  and  above  all,  do  not  talk  loo  miieli. 
'Remember,  the  brain  can  hold  so  much  and  no  more. 
Many  an  over-anilntious  student  demands  more  than 
he  can  retain,  and  inconsequence  conl'usion  results  and 
progress  is  retarded. 

I  will  not  outline  a  course  for  teachers  in  detail 
here,  for  1  feel  that  the  teachers  I  am  addressing  have 
been,  and  are  still  dancers  and  know  from  personal 
experience  exactly  what  to  teach  for  the  good  of  the 
student.  By  studying  the  contents  of  this  volume, 
much  v<dual)le  information  regarding  correct  execu- 
tion and  the  progressive  method  of  instruction  will  be 
brought  to  your  notice,  which  will  review  subjects  that 
jx^rhaps  have  been  partially  forgotten. 


'The  Dancing  Master  is  Just  as  Important  as  Any  Other  Instructor." 
"Philadelphia  Press." 


15 


BIRTH  OF  THE  DANCE 

»  What  is  file  dance f 
The  Dance  is  a  physical  effort,  in  which  a  senti- 
ment is  expressed  through  tlie  rhythmic,  harmonious 
movements  of  the  body.    It  is  a  natural  instinct. 

(live  a  hrirf  oiifliiir  of  flie  BirfJi  of  ilie  Dance. 

We  first  find  the  Dance  an  important  feature  in 
the  religious  ceremonies  of  the  ancient  I-Cgyptians. 
Soon  thereafter  the  Grecians  regulated  the  construc- 
tion of  the  Dance,  so  as  to  make  it  an  essential  part 
of  the  daily  routine  of  the  life  of  their  people.  It 
entered  into  their  sports,  their  plays,  their  very  ex- 
istence. Then  came  the  Romans,  who  arranged  the 
Dance  in  Ballet  form,  which  was  elaborated  upon  by 
the  Italians.  But  it  was  not  until  after  the  French 
formulated  the  various  steps  and  movements  that  it 
became  the  present-day  system.  The  Russians  have 
combined  the  methods  of  the  three  schools,  the  Italian, 
French  and  the  Hellenic  or  Greek,  and  have  given  to 
the  world  the  highest  form  of  Terpsichorean  Art. 

What  ph'yMcal  Ix'uefits  are  derived  from  the  prac- 
tice of  dancing? 

The  Dance  brings  into  action  every  muscle  of  the 
l)()dy.  It  stimulates  the  circulation  of  the  blood, 
strengthens  and  expands  the  lungs  by  increased  respi- 
ration, and  corrects  many  physical  defects,  thus  giving 
one  an  erect  and  stately  carriage.  Dancing  demands 
considerable  endurance  and  a  high  degree  of  co-ordina- 
tion. Incidentally  it  creates  a  love  for  music  and  all 
that  is  beautiful  in  art. 

Wliat  nafioit  Jias  done  niorc  for  daiicin//  tlian  am/ 
other? 

The  French  have  contributed  more  to  the  ndvance- 
ment  of  Dancing  than  any  other  nation  and  to  them 
belongs  the  credit  of  having  formulated  the  various 
l)ositi()ns,  ste])s,  and  movements,  giving  each  a  techni- 
cal term.  This  was  brought  about  by  the  Academie  de 
Danse,  Paris,  France.  However,  iii  recent  years  the 
Russians  h;n-(>  ('s])ccially  dislingnislicd   themselves  bv 


16 

reviviiii;'  tlii'  Fu'iicli  I'allet  with  a  inaslerl\-  and  artis- 
tic interpretation  t»t'  the  same,  and  have  rei)roduced 
Ballets  and  Dances  that  have  K)ni>,-  l)een  for^-otten  by 
the  general  public. 

Give  some  of  the  intportdiif  facts  eoiiecniiuf/  the 
AvadonU'  dc  Da  use,  Paris. 

The  Academic  de  Danse  was  I'oniuU'd  by  Louis 
Xl\'  in  IGGl.  It  was  composed  of  the  most  prominent 
men  in  the  Profession,  who  were  brought  together  for 
the  puri)ose  of  systematizing  the  Dancing  Art,  fornui- 
lating  the  various  positions  and  arranging  the  steps 
and  combination,  giving  to  each  a  French  Term 
This  is  known  to  us  as  the  French  Technique.  A 
method  of  practice  was  also  agreed  upon,  which  has 
since  been  the  means  of  producing  the  world's  greatest 
dancers.  The  Academic  de  Danse  soon  became  affili- 
ated with  the  Academic  de  Alusique. 

WJiat  is  tliis  method  of  practice? 

The  sequence  of  general  study  is  as  follows:  r/^., 
Positions,  Side  Practice,  Center  Practice,  Adage  with 
Port  de  Bras,  Pirouettes,  etc.  Elementary  Steps,  Ad- 
vanced Steps,  Steps  of  Elevation,  Batterie  and  Toe 
Work. 

Of  what  does  the  Dance  co)isist? 

The  Dance  consists  of  Poses  and  Movements. 

What  is  a  Pose? 

A  Pose  is  a  posture;  immoval)le. 

What  is  movements 

Movemeiit  or  motion,  is  action;  a  change  of  posi- 
tion. 

Give  the  different  cliaracfcrs  of  uiorcHK'Htf 
^'lidiiig,  S))i"inging,  IVounding,  llo|)))ing,  St('p))ing, 
liunning,  etc. 

By  Daiitn/fi  ( (lassie)  do  i/oii  iii/d(  island  thai  only 
fjic  tower  ext remit ics  are  to  tie  liroiiylit  into  actionf 

Decidedly  not.  The  nn'nibcis  of  the  entire  body 
must  move  in  harnionv-.  The  aims,  the  torso,  the 
In  ad,  the  vei'y  ('.\))i'('ssioii  of  tlie  eyes,  are  used  as  one 
complete  whole. 


17 

What  Ls  force? 

Force  is  that  which  tends  to  either  move  or  stop 
a  body. 

What  is  the  wosf  essential  flinif/  in  dancbig? 

Tlie  most  essential  tiling  in  dancing  is  perfect  bal- 
ance, for  ^^'ithout  balance  there  is  no  harmon_y  and 
without  harmony  there  is  no  dance. 

Hoiv  do  you  judge  a  daueerf 

By  the  personality,  grace,  technique  and  repose. 


DIFFFIHEXT  KINDS  OF  DANCING. 

Into  lioiv  hiauy  classes  is  the  dance  divided?  Name 
them. 

The  dance  is  divided  into  two  classes.  Theatrical 
or  Fxliil)ition,  pnd  Ballroom  or  Social  Dancing. 

]]'luit  is  the  difference  hetueen  Theatrical  and 
Ballroom  Dancing? 

Theatrical  or  Stage  Dancing  is  performed  for  the 
amusement  of  others,  generally  for  money.  Ballroom 
Dancing  is  indulged  in  for  one's  own  pleasure  or  pas- 
time. 

Iloir  nutng  kinds  of  Theatrical  Dancing  are  tJiere? 

There  ai  e  numerous  forms  of  Theatrical  Dancing. 
Almost  any  style,  when  particularly  well  rendered,  can 
come  under  the  category  of  Theatrical  Dancing.  It  is  a 
dance  that  is  iK'rformed  at  the  theatre  or  on  the  stage. 

(rice  the  principal  fonns  of  Theatrical  Dancing 
ivhich  are  popular  to-dag,  and  a  short  outline  of  each. 

The  dances  which  are  most  frequi'iilly  sc  rn  on  the 
stage  at  present  are  divided  into  several  classes — the 
Serious,  (Miaracter,  Demi-Character  and  Comic. 

'i'lie  Serious  is  the  descriptive,  the  Intei'pretative 
Style,  comprising  the  Classic,  Poetic  and  ()])eratic, 
which  arc  all  ins])ired  ])y  highly  dramatic  and  nilistic 
minds. 

'^I'hc  C^hni'actcr — Cnder  Ihis  heading  comes  the  Na- 
tional and  l^'olk  Dances  which,  ahiiough  not  entirely 
conlined  to  the  stage,  are  often  seen  as  an  exhibition. 


18 

The  Demi-Cliai actor — Daiucs  that  woiihl  portray 
the  aifairs  of  ordinary  life. 

The  Comic — The  burlestjue,  i;rotes(iiie  and  eeeeii- 
tric  styles. 

Iloiv  Hid  11//  hinds  of  TJicdt Ileal  Duikiikj  (UC  there f 
There  are  two  forms,  K*oiiii(l   Dances    and    (^Quad- 
rilles. 

117/^//  is  (I  I! oil  11  fl  Ddiiec.^ 

A  Dance  where  two  people  take  the  waltz  position 
and,  by  a  circular  proi>ressive  movement,  move  around 
the  room  in  the  line  of  direction  (from  the  left  of  the 
center  of  the  r(M)m). 


Correct  Waltz  Position. 


Cive  ilic  )iani('S  of  some  Bound  Daiiees. 

Waltz,  Polka,  Schottische,  Mazuika,  'i'wo-Step ; 
and  the  so-called  Modeiii  Dances  include  the  ()ne-Step, 
Hesitation  Waltz,  Fox-Trot,  Maxixe,  Tani;o,  etc.  The 
two  latter  dances,  althou,i>h  not  entirely  ])erformed  in 
the  Waltz  Position,  would  undoul)t('dl\'  he  classed  as 
round  dances. 

W'liol   is  Hied  III   hi/  a   (Jiid'hiJJe? 

'i'lic  woi'd  (Juadi'illc  is  taken  fi'oin  llic  woi'ds 
"quad,"'  a    s(juar('  or   four  sides,  and   ''drill,"  a    per- 


19 

foimance  or  exhibition.    A  four-sided  drill,  or  a  drill 
for  four  couples  placed  in  a  square  formation. 

It  requires  four  couples  to  dance  a  Quadrille,  and 
Eight  Couples  to  a  Double  Quadrille.  Quadrille  is 
often  called  a  Square  Dance  on  account  of  its  forma- 
tion. 

Give  the  )iai)H's  of  a  few  Standard  QiiadriUcs. 
Plain   (|)uadrille,   Landers,    Polka    Quadrille,   Po- 
lacca.  Waltz  Quadrille,  etc. 

Were  there  ever  any  forms  of  Social  or  Ballroom 
Dances  other  than  Round  Dances  and  QuadriUesf 

Yes,  there  were  the  stately  Minuets,  Pavannes, 
Gavottes,  etc.  These  are  often  called  Court  Dances,  as 
the>'  were  performed  at  Court  Functions.  In  these 
dances  the  participants  held  each  other  by  the  hand  or 
hand-in-hand,  in  what  is  now  termed  the  Open  Position. 
The  movements  were  slow  and  stately,  with  a  profuse 
display  of  Bows  and  Courtesies. 


MUSIC 


WJtal  Is  Musicf 

Music  is  the  science  and  art,  or  rhythmic  combina- 
tion of  tones,  embracing  melody  and  harmony,  and  is 
the  chief  art  medium  through  which  the  emotion  can 
be  expressed. 

Uliat  docs  music  suf/f/rsf  to  the  dancer? 

]\lusic,  with  its  quick,  rapid  passages,  suggests  jo\ 
and  nieriimcnt,  while  slow,  legato  passages  suggest 
iSloW,  grave  movements  of  the  body. 

A  thought  nuist  be  conveyed  by  movement  in  danc- 
ing, just  as  in  music  the  idea  is  expressed  in  tones. 
Harmonic  consistency  is  the  foundation  of  interpreta- 
tive expression  in  all  forms  of  dancing;  crudeness  and 
carelessness  lead  to  discord. 

Hare  tlic  diffcrcuf  cJinnicters  of  music  a)ii/  risihlc 
effect  upon  the  dancer/ 

Yes;  a  light,  joyous  melody  would  proxoke  a  mis- 
chievous,  smiling  e\]n'essioii     and   a    spriglitl>'     move- 


20 

iiu'iil,  whilst  a  slow,  sad  i)assai;x'  would  create  sad, 
iiioiii  iit'ul  expression  and  a  slow  step.  1  rei>'i'et  very 
niiieli  to  say  that  this  ijriiuiple  is  not  alwaNs  adhered 
to  by  some  of  the  great  (hineers,  who  ol'teii  disregard 
the  character  of  the  music  for  the  sake  of  disph\ymg 
a  cei'taiii  intricate  ste]). 

Is  if  iiecej^sarij  to  have  a  Ixitoivledfie  of  music  in 
order  to  become  a  dancer  or  a  Ballet  Master? 

Yos,  most  emphatically,  it  is  absolutely  necessary. 

W'luif  is  ntcuiil  hi/  sijiicojxiliou? 

Syncopation  is  the  continuation  of  an  unaccented 
into  an  accented  note.  In  Dancing  it  is  the  execution 
of  an  unaccented  step  closely  joined  to  an  accented 
one. — Zorn. 

Wlidi  is  UK  (lilt  1)1/  ArjX'fifiio.^ 

The  sounding-  of  the  notes  of  a  chord  in  rapid  suc- 
cessicni,  in  har])  style. 

What  is  (III  t ' p-heat? 

An  unaccented  note  preceding  the  accented  one  of 
the  next  measure,  or  a  preparatory  note  to  the  accented 
step. 

Comixirc  the  progression  of  the  t)irf]i  of  the  dance 
iritli  the  l)irtli  of  ))nisic. 

l)an(('.  ]\[usic. 

Position  or  Temps — compare(l   willi  a Note 

Steps  ()!•  Pas Melody 

i]ncluunement Musical  l*hi'ase 

Number  of   iMicliainenieiits Xumber  of   IMirases 

(The  coni])iete  dance  or  the  complete  nmsical  com- 
position.) 

W'luil  is  ineani  It//  the  terms  Lcf/olo,  Atlcfiretto, 
Athfiro  (Hid  I* rest o.^ 

Legato  UK'ans  a  smoolli,  coiMKcted  style. 
Allegretto,  slower  tlian  Allegro.     Moderalel)'  fast. 
Allegi'o,  JoxI'ul,  (|uick,  li\'ely. 
Presto,  \'ei'y  fast. 


21 

Compare  flic  cniofioiiaJ  cocpressioiis  in  dancing 
tcith  that  of  mu,s'tc. 

Emotion  is  an  agilalion  emanating  from  the  Soul, 
and  is  difficult  to  detine  or  impart ;  the  power  of  con- 
ceiving and  di\  iniiig  the  beautiful.  However,  like  tal- 
ent, it  can  be  improved  upon  through  intellectual  train- 
ing. Music  is  expressed  through  the  fingers,  or  the 
voice,  while  dancing  is  expressed  through  movements 
of  the  bodv. 


RHYTHM  AND  TEMPO 

WJiat  is  HJii/fJnnF 

Kliythm  is  the  universal  force  in  all  movements  of 
nature,  and  the  fundamental  principle  in  life ;  it  is  a 
natural  instinct,  the  great  "get  together"  element  of 
the  world,  noticeable  in  singing,  cheering,  marching 
and  (hmcing. 

Give  a  brief  oiifJinc  of  rlii/ttini  in  nuisic. 

Rhythm  in  music  is  a  succession  of  equally  meas- 
ured bars.  The  rhythm  of  a  composition  is  designated 
))y  numerals  such  as  2  4-,  3  4,  4  4,  6/8,  etc.,  which  sig- 
nify the  number  of  counts  in  each  bar  or  measure. 

TJuouf/h  u'tuif  source  is  flic  rlii/flnn  of  tJic  dunce 
determined:^ 

The  rhythm  of  the  dance  is  brouglit  about  through 
music. 

Are  Dauciuf/  and  Music  fin'  onfi/  rlii/fliniic  Arfs/ 
Xo,   rhytlim   foims   the  l)asis   of   all   arts — Music, 
Dancing,  Painting,  Sculi)ture  and  Poetry. 

Hon-  is  I  he  characti  r  of  rlii/tlnn   made/ 
The  character  of  rh\tiim  is  inacU'  1)\'  the  dilfcrent 
])ro))oi  tious  of  time   l)i't\veen   the   ch'inciits   that    com- 
prise its  com])osition. 

If  on'  /'^'  ilii/tlnn  rdattd  lo  daiunni  dud  nuisic? 
It    is  1h(    natural,  iiis('paral)l('    lie    bctweeu    nmsic 
and  (laiiciiiu'. 


22 

]]'hat  is  nnaiii  by  :2  4,  3/4,  4/4  or  0/^,  otlicr  than 
designating  the  rhgthmf 

This  means  that  in  2  4  rliytlim  each  measure  is 
divided  into  the  value  of  two  ([uarter  notes  (used  in 
writing"  music)  or  the  equivaU'nt  in  notes  and  rests. 
In  3  4  the  division  is  three  quarters,  in  G  8  there  are 
six  eightli  notes  or  the  equivalent  in  each  measure. 

What  is  meant  by  the  ralac  of  a  quarter  notef  A 
half  notef 

The  time  or  duration  of  the  sound  of  the  note. 
The  vibration  of  a  half  note  is  twice  as  long  as  the 
quarter  note. 

What  is  a  bar,  or  a  measure? 

First. — A  bar  is  the  vertical  line  that  divides  the 
staif  into  measures.  A  measure  is  the  division  of  time 
by  which  the  melody  and  motion  are  regulated;  a 
rhythmical  period. 

Second. — A  division  of  tones  arranged  in  small 
})roportions  which  are  written  by  the  line  system,  so 
that  the  foini  and  rhythm  of  the  comi)osition  are  read- 
ily and  easily  understood,  a  number  of  these  divisions 
following  each  other.  The  word  measure  is  often  sub- 
stituted for  the  word  bar. 

WJtat  is  Tenrpof 

Tempo  is  the  rate  of  speed  in  which  the  ccmiposi- 
tion  is  played.  In  every  movement  a  certain  amount  of 
time  for  its  execution  is  required,  therefore  the  tempo 
is,  in  conse(iuence,  regulated  accoidingly.  It  is  desig- 
nated by  the  terms  in  Italian.  For  example — Largo, 
very  slow.  Moderate,  moderate  tempo.  Presto,  ver\^ 
fast.  The  Italian  langiiage  is  to  music  wiiat  French  is 
to  dancing. 

Wlidf  is  fhr  rcldfioii  h(  hcrcii  '!'(  nijxi  (uiiJ  h'hullnu.^ 
Tem])o  is  liic  time  in  which  the  i-h>thni  is  pJnN'ed 
or  rendered. 

Can  a  melody  and  a  slep  be  arranged  io  any 
rJiythmf 

Yes,  by  rearranging  the  notes  of  a  different 
rhytiim,  the  chai'acter  of  a  composition  is  changed;  and 
steps  call  be  adjusted  according]}'. 


23 

Xauir  a  for  (hiiiccs  u-nttci,  to  2/4,  3/4,  4/4,  6/8 
rJiijtJuH. 

In  2/4  iliN'tlim  are  Galop,  One-Step,  Martial 
Dances  and  Polka. 

In  3/4  are  AValtz,  .Minuet,  Alazuika  and  Polonaise. 

In  4/4  are  Gavotte  and  Schottische. 

In  6/8  are  Tarantella,  Reel  and  l^vo-Step. 


THE    NEWMAN    BALLET. 
Faust   Ballet,   Academy   cf  Music,  Philadelphia. 


The   First   Organized  Amateur   Grand  Opera   Ballet   in   the    World. 
Albert  W.  Newman,  Ballet  Master. 


24 


TECHNIQUE— EMOTION— GRACE— RE- 
LAXATION—REPOSE— INTERPRETA- 
TIVE,   ESTHETIC,   ATHLETIC 
DANCING,  PANTOMIME 

Wliai  four  chincui^s  should  a  hue  artist  possessf 
Talent,  Pjiiiotion,  Intelli,i»oiicx'  ami  Technique. 

Wluit  do  ijou  uiidcrslaiid  Ijij  'rccJi iiniucf 
Technique  is  "Artistic  Execution"  and  the  perfect 
foundation  of  an  art.  In  dancing',  it  emliodies  tlic  study 
and  practice  of  the  French  Technique,  from  tlie 
fundamental  positions  to  the  most  complicated  com- 
binations. Technique  is  of  vital  importance,  yet 
it  should  not  be  practised  to  such  a  degree  as  to 
sacrifice  the  expressive  and  emotioutd  side  of  the  art, 
for  then  the  dance  becomes  nothing  more  than  a  me- 
chanical performance.  Among  many  of  the  foreign 
artists,  where  the  training  is  conijjulsory,  too  much 
technique  is  often  ol)served. 

Ulidf  is  emotion? 
--^Emotion  is  the  soul,  the  sentiment,  the  expression 
necessary  to  inter])ret.  A  dance  may  be  correctly  exe- 
cuted from  a  technical  standjjoint,  but  unless  the 
dancer  has  emotional  power  or  expression,  she  fails  to 
communicate  her  ideas. 

aire  a  dcfiuttiou  of  the  aoi  d  (jraccf 

Grace  is  beauty,  ])erfection  of  form  and  absohite 
harmony  of  mind  and  body;  the  Poetry  of  Motion. 
Grace  vA  motion  is  to  the  eye  all  that  melody  of  sound 
is  to  the  ear. 

Wtidf    is   iK'ccssdi  ji   to   /iroducc  Inn  uiouious   itiovc- 

IH  ('  III  ? 

Perfect   l)al;ince. 

What  do   i/oii  II iidi' rsl mid  l)i/  iididiicc? 

Pahince  is  the  pi'opei'  adjuslment  of  the  body 
which  enables  one  to  moxc  through  \arious  ex'ohitioiis 
with  ])erfect  ease  and  gia(  e.  Pahmee  means  nmscubii* 
conti'ol,  jM'i'fect   repose  and  poise,  which  is  ac(]nired  h\' 


25 

the  proper  movements  of  the  arms  and  torso,  in  accord- 
ance with  the  movements  of  the  feet  and  legs. 

What  is  relaxation f 

Relaxation  does  not  mean  acting  in  a  relaxed  or 
lazy  manner.  It  means  rest  after  effort.  Relaxation 
means  resigning  the  body  to  the  law  of  gravity,  the 
mind  to  nature  and  the  entire  energy  to  deep,  rhythmic 
breathing. 

What  is  repose? 

Repose  is  assurance  or  perfect  self-control  of  the 
body. 

What  is  the  meauhui  of  Aesthetic  Daitcinr/f 
Aesthetic  Dancing  is  that  beautiful  style  which  dis- 
plays to  the  best  possible  advantage  harmonized  arm 
and  body  movements.     It  is  more  or  less  a  modified 
form  of  the  French  Ballet. 

Wliat  is  meant  hy  Fancy  Dancinyf 

Fancy  Dancing  is  the  name  given  to  those  dances 
of  the  ornamental  nature,  consisting  of  dainty,  simple 
steps  and  mo^'ements  which  were  originally  launched 
from  the  comentional  dancing  school  and  performed 
by  the  very  young  children.  It  is  really  onh'  for  the 
amateur. 

Give  a  definition  of  a  Dance  Poem,  I ntcrpictatire 
or  Classic  Danciny. 

A  Dance  Poem  and  an  Interpretative  Dance  are 
practically  one  and  the  same.  It  means  that  a  story 
is  woven  around  the  steps  and  movements,  and  inter- 
preted in  such  an  artistic  mann.er  that  the  audience  can 
readily  understand  every  change  of  position.  Certain 
jnoyements  are  the  means  to  carry  out  the  thought 
which  is  expressed  in  Pantomime. 

The  steps  must  be  studied  willi  a  care  which  makes 
even  the  elaboi-alion  of  BaUet  Te('lini(iue  a|ii)ear  simple. 

Wlial  do  yon  nndcrsloiid  />//  Athletic  Ddi/elnt/F 
Athletic  Dancing  is  a  I'onii  consisting  of  steps  that 
i(M|uire  great   strength  and  sustaining  powers,  gener- 
ally taken  from  the  Greek  Sports  which  were  founded 
oil  natui-al  movements. 


::() 


Wliaf  is  a  divcrfisscmcutf 

A  Divertissomeiit  is  a  series  of  (lances  inserted  in 
Operas  and  IMa>s,  _n-i\-en  as  an  enteiiainnieni  or  divei'- 
sion. 

What  is  a  luiUciF 

A  Ballet  is  a  drama  told  in  tiie  Ter})sieliorean 
lani>uag"e,  with  the  ])iineipal  characters  impersonated 
l;y  the  dancers. 

Wliaf  is  nteaut  by  Pautowimcf 

Pantomime  is  the  mute  language.  Thoughts  and 
ideals  are  expressed  by  signs,  gestures,  movements  and 
facial  expressions,  which  oft  speak  louder  than  words. 
It  is  the  univ(>rsal  language  which  is  undoubtedly  un- 
derstood by  all  mankind.  This  mode  of  expression  be- 
comes even  more  interpretative,  moi-e  intelligent  and 
more  impressive  when  used  in  connection  with  appro- 
l-riate  music. 

"Human  motion,  Avhich  is  employed  as  a  me- 
dium of  expression,  is  a  langiuige  whose  messages 
are  veiled  but  unmistakable.'' 


Katharine   Morris,    Foklne   Balitt,    n  i 


York. 


27 


THE  STAGE  — TERMS  THAT  ARE  USED 
ON  THE  STAGE 

It  Ih  quite  important  for  tlic  claiiecr  to  become 
familiar  with  the  terms  that  are  used  upon  the  stage, 
so  that  the  entrances  and  exits  and  the  various  posi- 
tions are  more  readily  understood.  It  is  the  first  duty 
of  the  Ballet  Master  to  know  where  the  dancers  are  to 
enter;  where  the  dance  is  to  be  performed  and  the  exact 
exit. 

The  positions  upon  the  stage  are  taken  from  the 
performer  facing  the  audience.  We  will  say  that  the 
.stage  consists  of  four  parts,  down  stage,  or  the  front; 
up  stage,  or  the  back,  and  the  right  and  tlie  left  side. 

STAGE  POSITIONS. 

Whij  do  ire  caU  if  Doini  Sfuf/c  and  U }>  SUnic? 

The  stage  Moor  is  built  on  an  incline  toward  the 
rear,  so  that  the  audience  is  better  able  to  see  llie 
performers.  The  Academy  of  ]\Iusic  in  Philadelphia 
has  a  pilch  of  18  inches,  wliile  other  theatres  have  not 
quite  so  nmch.  That  is  left  to  the  judgment  of  the  ar- 
chitect. Down  Stage  is  toward  the  front,  oi-  footlights, 
and  Up  Stage  toward  the  rear,  or  background. 

What  is  meant  hij  Center,  Doirn  aiut  V p  Ceiiter, 
Bight  and  Left  of  Center,  Doirn  Hir/ht  and  Up  Hif/ht, 
Down  Left  and  Up  Left? 

Center  is  directly  in  the  centoi'  of  the  stage. 

Down  ("enter  is  the  center  toward  the  foot li^hls. 

Up  Center  is  the  center  toward  the  background. 

Right  of  C^Miter  is  in  the  center  toward  the  right, 
and  Left  of  Center  is  toward  the  k'ft. 

Down  Hight  is  the  extreme  right  of  stage  nt'arest 
the  footlights. 

\j\)  Kight  is  the  extreme  rear  of  U})  stage  toward 
the  right. 

Down  Left  is  left  of  stage  nearest  to  foolliglits, 
and  Up  Left  is  up  stage  toward  the  left. 


28 

LTCrllTS. 

]]'liat  in  nicaiif  hi/  Fooiluiitts,  Border  Lif/lit,-\  Side 
Li(/1its,  Bunch  Lights,  Spot  Light  and  Flood  Lightf 

Footlights  mean  a  row  of  liiiiits  placed  aloiii>-  the 
extreme  front  of  the  stage,  or  at  the  foot  of  the  stage. 

Border  Lights  mean  a  row  of  lights  hung  above  the 
scene. 

Side  Lights  are  lights  at  the  side  of  the  stage. 

Bunch  Lights,  a  cluster  of  lights;  Spot  Light,  a 
concentrated  light  which  can  be  focused  on  a  prominent 
artist  or  object. 

Flood  Light,  a  light  that  covers,  or  Hoods,  the  en- 
tire stage. 

ENTRANCES. 

What  is  meant  by  the  Center  Entrance;  the  1st, 
:'iid  and  :>rd  entrancef 

The  center  entrance  is  an  opening  or  entrance  in 
the  center  of  the  background. 

The  Lst  entrance  is  on  the  side  in  front  of  the  lirst 
wing.  The  2nd  entrance  is  between  the  1st  and  2nd 
wings.    The  3rd  entrance  is  in  front  of  the  'h-d  wing. 


'& 


SCKXFRV. 

What  is  meant  by  the  Wings,  Borders  and  Dropsf 

Wings  are  pieces  of  scenery  ])laced  at  the  side  of 
the  stage,  reaching  from  the  floor  to  the  borders. 

Borders  are  stri])s  of  scenery  which  hang  along  the 
top  of  the  setting. 

A  Drop  is  a  sheet  of  canvas  ui)on  which  is  j)ainted 
a  snitabh'  background  for  the  setting. 

What  IS  a  liox  Seene.^ 

A  i>ox  Scene  is  an  interior  scene  made  to  repre- 
sent a  i)ra('tical  I'ooni  with  doors,  win(h)ws,  fireplaces, 
etc.  All  tiic  ))i('C<'S  of"  scenery  are  hoxed  in  and  lashed 
together. 


29 

WJtat  is  a  Set  Piece? 

A  Set  Piece  is  a  piece  of  scenery  or  furnishing  for 
the  stage  made  to  rejjresent  the  real  article  and  fast- 
ened to  the  stage  with  braces.  Thrones,  fireplaces, 
rocks,  trees,  walls,  etc.,  would  be  called  Set  Pieces. 

Uliai  is  nitauf  bij  a  Paint  Fraiuef 

A  Paint  Frame  is  a  huge  frame  upon  which  can- 
vases are  stretched,  ready  to  be  painted.  It  is  attached 
to  ropes  and  can  be  raised  or  lowered  at  will.  It  is 
placed  close  to  the  bridge  where  the  artist  works. 

What  is  the  Bridge f 

The  Bridge  in  the  theatre  is  a  practical  bridge  lo- 
cated generally  in  the  rear  of  the  stage,  up  above  the 
borders,  from  which  the  artist  paints.  It  is  also  used 
for  special  lighting  effects  and  for  aerial  acts. 

]V]iat  is  meant  J) if  the  Flies? 

By  Plies  we  mean  that  part  of  the  stage  above  the 
scenery,  the  loft,  as  it  were,  where  all  the  drops  are 
hung,  ready  to  be  lo^vered  upon  the  stage. 

What  is  the  Apron? 

The  Apron  is  that  part  of  the  stage  Hoor  in  front 
of  the  curtain. 


;]0 


THE  FOOT  AND  THE  KNEE 

luto  Jioir  ununj  jxuts  is  flic  foot  diridedf  Name 
tJiou. 

The  foot  is  divided  into  live  ])arts. 

The  |)()iiH,  or  extreme  ti]),  the  toe,  Inill,  instep 
and  liecl. 

]]li((f  is  tlie  term  f/inii  to  flic  corrcd  pfariiif/  of 
lite  foot  upon  the  fioorf 
Proper  appiieatioii. 

What  do  i/oH  iDidcrstaiid  />//  projxy  a  ppli  cation  f 
The  correct  manner  of  movini;  or  ])lacing-  the  foot 
into  the  vaiions  positions.     Proper  api)lieation  of  the 
foot  is  of  the  same  importance  to  the  dancer  as  tone 
(piality  wonld  be  to  the  singer. 

Wluit  luiDics  QIC  f/ircii  to  the  feet  other  than  the 
lifjJit  and  left  foot!' 

Tile  execntini;-  foot  and  the  supporting  foot. 

Whicli  is  the  executiiui  foot? 

The  foot  which  is  about  to  take  a  step:  it  is  en- 
tirely free  from  the  weight  of  the  body. 

W'ltich   is  the  suppoitiufi  foot? 

The  foot  u])on  which  the  entire  weiglit  of  the  body 
rests;  tJie  st  i-oiig  foot. 

What  is  iiicaiit  bij  the  inside  and  the  outside  foot? 

The  feet  aie  designated  as  tlie  inside  and  the  out- 
side foot  b\'  liie  position  they  assume  when  daiiciiig 
witli  a  ])aitiiei-.  Standing  side  ])y  side,  the  inside  foot 
is  tile  one  nearest  to  tlie  ])artner  and  the  outside  foot 
is  the  one  farthest  away  from  the  parlner. 

aire  in  def/rees  fJie  exact  position  in  nhieJi  feet 
should  t)e  })taeed  upon  the  jtoor. 

For  practical  dancing  tlie  feel  are  placed  with  the 
toes  turned  outward  at  an  angle  of  between  4")  and  90 
degi'ees,  exce]>t  in  i>fdlet  I'ractice  at  the  bai-,  when  they 
should  be  tui'iied  out  on  a  perfectly  sti'aigiit  liiM'  of  !M) 
degrees,     'i'liis  is  called  the  cxtrcnn'  baHct  position. 


31 

Wliy  is  tJii.s  cxar/ge rated  ijo.sitioit  of  90  degrees  rec- 
ommeiided  for  side  irracticef 

So  that  not  only  the  toes  may  turn  outward,  but 
that  the  entire  leg  from  the  hip  down  is  turned  to  the 
side.  Practice  in  this  extreme  position  will  correct  im- 
proper placing-  of  the  feet,  such  as  parrot  toes,  etc. 

WJiy  should  tJie  toes  be  turned  outward f 
To  give  one  perfect  ease  in  executing  movements 
directed  to  the  side,  and  to  enable  one  to  balance  the 
body  on  one  foot  while  the  other  is  performing  some 
aerial  movement.  To  show  the  ankles  and  legs  to  the 
best  advantage. 

I)i  tuniing  the  toes  outward,  which  part  of  the  leg 
must  receive  the  most  atteiitiott,  and  wJigf 

The  hip  must  receive  the  greatest  amount  of  atten- 
tion. Exercises  must  be  given  to  turn  the  hips  out- 
Avard,  or  to  open  the  hips;  then  the  entire  leg  will  be 
turned  to  the  side. 

Which  exercises  are  recoiuuieiided  for  tuni'uig  out 
the  hips. 

The  Plies  in  all  the  positions  are  particularly  rec- 
ommended. 

Ill  raising  the  foot  from  the  floor,  u'hleh  part 
should  he  raised  first,  and.  In  placing  the  foot  upon  the 
floor,  which  jjarf  should  eoinc  In  contact  irlth  the  floor 
first? 

In  raising  the  fool,  the  heel  should  leave  the  floor 
first,  and  in  lowering  the  foot,  the  toes  must  come  down 
first. 

II  haf  /,v  the  most  liuportanf  pari  of  the  Ic//,  and 
ichy:' 

The  mosl  impoilaiil  pari  ol'  iIr-  leg  is  ihe  knee. 
Every  step  is  accompanied  w  illi  a  bending  of  the  knee, 
sometimes  very  slight  and  a^aiii  more  exaggerated. 
The  knee  musl  be  plial)k'  and  kepi  unik'r  al)sohile  con- 
Irol,  as  ('\-('rylhing  dejx'nds  upon  ils  flexible  action. 

In   u-hleh  direction  should  the  lince  be  turned!' 
The  knee  should  invarialily  be  Imiied  outward  or 
to  the  side,  except  in   inwai-d   posilions,  and  must  al- 
ways lie  on  a  direcl  line  o\ci'  ihc  Iocs. 


THE  TORSO,  THE  HEAD  AND 
SHOULDERS 

Define  ihe  Torso  in  reUifioii  to  the  dance. 

The  torso,  the  trunk  or  the  main  i)art  of  the  human 
hody,  is  that  which  connects  and  controls  the  move- 
ments which  give  the  dance  its  character,  any  change 
of  which  would  immediately  alter  the  appearance  of 
the  (lance  without  changing  the  steps  in  the  least.  The 
Torso,  during  the  dance,  must  at  all  times  move  in  har- 
mony with  the  action  of  the  lower  extremities.  It  must 
adjust  itself  to  the  center  of  gravity  and  must  invari- 
ahly  he  ke])t  relaxed,  pliable  and  in  ])erfect  accord  with 
the  rule  of  o})})osition. 

Hotv  many  positions  of  the  body  are  there? 

There  are  five  positions  : 
T.      Body  erect, 
n.     Body  bent  forward. 
111.  Body  bent  backward. 
1\".   Body  l)ent  to  the  side. 
V.      Body  turned  at  the  shoulder. 

The  head. 

The  head  is  the  seat  of  tiie  intellect,  or  understand- 
ing. It  enables  us  to  control  our  moveuK'nts  at  will. 
The  head  must  rest  lightly  upon  the  shoulders  and  al- 
ways be  held  so  that  it  appears  most  natural  and  artis- 
lic.  The  facial  ex])ression  is  of  vital  imjxu'lance  to  the 
dancer,  and  nnist  be  cultivated  for  pleasing  personality 
and  magnetism,  etc. 

lion    many  yosHions  of  the  h<  ad  are  iJiereF 
There  ai'e  five  ])ositions  of  the  head: 

I.  Head  facing  front. 

I I.  Head  bent  downward. 

III.  Head  bent  back. 

I  \'.    Head  bent  to  side. 
\'.      Head  turned. 


33 

The  shoulders. 

The  shoulders  are  most  iinpoitanl  in  placing  the 
hotly,  and  should  always  be  under  perfect  control.  The 
shoulders  enable  us  to  move  the  arms  in  graceful  move- 
ment. A  diagonal  position  of  the  shoulders  is  pref- 
erable to  one  facing  front,  as  it  shows  more  character. 


THE  HAND,  WRIST  AND  ARM 

Is  there  any  parficidar  rule  for  holding  the  handf 
The  fingers  of  the  hand  should  be  artistically 
curved  or  grouped  and  held  rathei-  close  together,  but 
the  tips  of  the  lingers  do  not  touch.  The  second  and 
third  lingers  are  so  curved  that  tliey  almost  touch  the 
thumb  (we  often  tell  the  student  to  hold  a  small  coin 
with  the  thumb  and  the  second  finger).  The  forefinger 
is  slightly  curved  and  the  little  finger  is  held  almost 
straight.  The  fingers  should  be  so  placed  that  each  one 
can  be  seen  by  the  spectator.  Care  should  be  taken  not 
to  show  the  palms  of  the  hand  in  taking  the  Arm  Move- 
ments, except  when  it  is  required  to  express  an  emo- 
tion. Straight  fingers  and  keeping  them  ajtart  is  awk- 
ward. 

TT7;r//  hriiif/s  about  a  f/rdccful  anii  )noreiH('iitf 

Much  depends  upon  a  Hexed  wrist,  for  a  light  wrist 
gives  to  the  movement  a  Howing,  pliable,  soft  appear- 
ance. A  loose  wrist  tliat  can  wa\('  ijrcxhices  a  most 
graceful  movement. 

Would  you  cousjder  exereise.s  for  the  urisf  of  ))iucJh 
importcnicef 

Tlie  wrist  is,  without  a  doubt,  tlie  most  important 
])ai-t  of  the  arm;  a  i)liablc  wi'ist  to  the  (hincer  is  the 
same  as  a  plial)k>  wrist  to  the  ])ianoforte  phiyer.  Tlie 
wrist  must  l)e  relaxed  and  under  control,  which  will 
give  to  the  movement  that  beautiful  finish  so  essential 
to  graceful  gesticulation  or  Port  de  Bras. 


o-i 

]\'lu'rc  (loc.'i  the  action  hcf/'ni  in  raising  and  lower- 
in  (/  the  liandf 

Tn  raising-  the  hand,  start  witli  the  upper  part  of 
the  arm — or  rather,  raise  it  from  the  shoulder — and  in 
lowering  the  arm  begin  with  the  hand. 

Give  tl'.e  various  forms  of  Arm  Movements. 

Raising,  lowering,  turning  and  circular  movements, 
bending  and  stretching.  Fingers — Opening  and  closing 
the  hand. 

Wliat  is  tJie  proper  irai/  to  wore  the  arms? 

The  arms  should  be  kejit  away  from  the  body,  per- 
fectly relaxed  and  rounded,  and  the  hands  and  fore- 
arms turned  so  that  elbows  will  be  eliminated. 


Albert   W.   Newman   and   His   Pupil   Toja   Brodanova. 


OPPOSITION 

What  is  Opposition  as  related  to  the  Dance? 

By  opposition  we  mean  that  tlie  opposite  hand 
and  foot  take  the  same  relative  position  to  the  center 
of  gravity.  Opposition  is  to  motion  what  harmony  is 
to  music.  Sequence  is  to  motion  what  melody  is  to 
music,  and  poise  and  rhythm  is  a  combination  of  the 
two.  In  dancing,  opposition  means  raise  the  opposite 
hand  from  the  foot  that  is  in  front. 

From  ivhence  did  the  rule  of  Opposition  comef 
It  came  from  the  natural  walk.  It  is  a  natural 
law.  As  you  advance  with  the  left  foot  you  will  find 
that  the  opi)osite  (right)  hand  will  involuntarily  come 
to  the  front,  and  vice-versa.  The  quicker  the  movement 
of  the  legs  the  higher  the  hands  will  be  raised.  When 
you  run,  the  motion  of  the  arms  will  be  quite  pro- 
nounced. 

75  tlie  ride  of  Opposition  alwai/s  observed  in 
Dancing  f 

Yes,  always  in  strong  or  heavy  movements  or 
those  that  require  a  greater  amount  of  muscular  force. 
Yet,  often  in  the  lighter  movements  or  transitions  (go- 
ing from  one  position  to  another)  the  rule  of  opposi- 
tion is  not  ahvays  observed. 

Are  only  the  arms  and  feet  to  he  considered  in  the 
ride  of  Opposition? 

No.  The  torso  is  also  to  be  properly  adjusted.  The 
body  is  bent  and  the  head  is  turned  toward  tlio  rear 
crossed  foot. 

Give  the  principal  value  of  Opposition. 

It  produces  perfect  balance. 


36 


TECHNICAL  TERMS 

A. 

Ahaissc  or  Alxiis.scr  (ali-bay-say),  lowercnl  to 
lower.  To  let  down  the  lieel  or  lieels  to  the  lioor  after 
a  rise  on  the  toes. 

Ahaisscutoif  (ah-baise-niahn),  act  of  lowering. 
Practically  the  same  as  abaiiiscr. 

Actio)i  (aks-yon),  motion,  action. 

Academie  (ak-a-demi),  academy,  school. 

^■1  cote  (ah-ko-tay),  to  the  side. 

A  coin  (ah-kwahn),  to  the  corner. 

Adage  (ah-dahjh),  slow,  stately,  g-rand  movements 
with  elaborate  Port  de  Bras  (arm  movements).  It  is 
particularly  adapted  to  Pas  de  Deux  (dances  for  two), 
oft  called  Adage  de  ''Pas  de  Deux."  Dances  where 
the  danseur  (male  dancer),  so  supports  the  danseuse 
(female  dancer),  in  such  a  manner  that  she  is  able  to 
execute  the  most  difficult  ariel  evolutions  with  the 
greatest  ease.  The  dance  should  be  constructed  as  a 
l)oem  and  should  be  interi)reted  in  ])antomimo,  pos- 
tures, etc.     Adagio  is  the  Italian  word  for  Adage. 

A   droit  (ah-droo-ah),  to  the  right. 
A  gauche  (ali-gohsh ),  to  the  left. 
Ailes    de    pigeon     (el-cU'i'-pi/Jiyoii),    ])ig(M)ii    wing. 
See  Ailes  de  pigeon. 

Aki)}d)()  (ah-kiiu-bo),  one  oi'  both  hands  on  the 
hips. 

A  la  fin  (ah-la-fanii),  at  the  finish. 

AUe  (pas),  (i)ah-zali-la\' ),  h'isurc  wallviiig  step. 

Allemande  (ahl-nialmd ).  This  term  is  used  in 
connection  with  tlie  moveniciit  of  lurning  the  partner 
under  the  raised  ami  (iiaving  tiie  iiands  joined).  It 
is  also  the  name  ol'  an  Ancient  Dance  of  Swil/ciland 
and  GeiTuany. 

Allonger  (ah-lawn-Jliay),  to  stretch  out  ;  to 
h'ligtiien.  Allougi',  extended  s'aUoiiger;  to  stretch  one- 
self. 


37 

Altriiiatif,  alternative  or  alternate;  first  one 
foot,  then  the  other. 

Aplomb  (ah-plon),  jjerfeet  balance,  with  assur- 
ance, self  control. 

Arahesqut  (ah-ra-besk),  a  posture.  (JSee  Arabes- 
que.) 

Arroiidl  (ah-ron-dee),  rounded.    A  curved  arm  or 

Ipo- 

Arrirrc  (ah-re-air),  backward,  retiring,  rear. 

Assembh'  (ah-sahn-blay),  together.  Meeting.  (See 
Assemble.) 

A  temps  (ah-tahm),  movement  executed  on  a  single 
beat  of  the  music ;  a  dance  syllable.  It  may  consist  of 
several  movements  of  the  leg  without  a  transfer  of 
weight  and  must  not  exceed  one  beat  of  the  music. 

Attitude,  a  posture.     (See  Attitude.) 

A  terre  (ah-tair),  on  the  floor;  a  smooth  gliding 
style. 

A  vos  place  (ah-vo-plahs),  at  your  place. 
Avaut  Deux  (ah-vahn-der),  two  advance. 
Avaut  (ah-vahn),  forAvard  or  in  front. 
Avaut  bras  (ah-vahn-brah),  forearm. 
Auec  (a-vek),  witli. 

B. 

Baisser  (bais-say),  to  })ut  down  a  raised  foot. 

BaUnicr  (bah-lahn-say),  swaying  motion  of  the 
body  to  and  fro  in  any  direction,  or  a  succession  of 
weight  changes,  frcmi  one  foot  to  the  othtT.  The  sway- 
ing is  done  with  the  action  of  tlie  knees  and  ankles. 
The  feet  can  be  kept  apart  or  together,  or  one  foot 
raised.    A  balance  consists  of  two  changes  of  weight. 

Ballon  (l)alil-lon),  that  spi'ingy,  ])liable,  elastic 
'quality  which  cveiy  dancer  sliould  possess. 

BaJlouitr  (bali-l(»ii-iiay ),  a  cireuhir  movement  of 
the  foot  over  an  imaginary  l>:dl  of  large  size.  (See 
Pas  BaUouue.) 

Balloltr  (l)alidot-tay ),  a  tossing  hi'rc  and  there 
like  the  rocking  of  a  ship  at  sea.     (See  Pas  PaUotir.) 


Batfrr  (bah-tr),  to  beat,  or  toiicli  the  siipiiortiii.s,' 
log  in  midair,  one  or  more  timers. 

Ihithi  (l>ali-tn),  sliikinii,'  the  heels  toi^'etlier  while 
in  midair,   t'rcnit   or  baek. 

h'crccdii  (bcr-so),  eradle  or  rocking  step  used  in 
the  IIorn})ipe. 

Ballet  (ball-lay),  a  stor>-  tohl  in  the  Terpsichorean 
Language  by  a  chorus  of  dancers,  with  ])rincii)als,  etc.; 
a  drama  in  pantomime,  posture  and  motion. 

Ballcf  d' Action  (bali-lay-dahk-tze-on),  same  as 
Ballet. 

Bas  (bah),  down.     This  refers  to  the  arms. 

Basque  (bahsk),  a  province  in  the  N.  W.  part  of 
Spain  and  the  S.  W.  part  of  France,  the  birtli  place  of 
the  Pas  de  Basque,  one  of  the  most  artistic  dance 
combinations. 

Battemeut  (l)aht-niahn),  l)eating.  (See  Grand 
Battements,  Petit s  Battemenls.) 

Boiteux  (bwah-to),  a  lanu'  man's  stei).  (See  Pas 
Boiteux.) 

Bond  (bon),  springing  movement. 

Bondir  (bon-deer),  to  bound,  to  spring.  iJound 
and  Iicbonnd. 

Bote,  a  form  of  salutation  for  the  gentleman.  Place 
the  feet  in  .'5rd  position,  lower  the  upper  part  of  the 
body  by  liciidiiig  forward.  Have  the  hands  hanging 
naturally  at  the  side,  then  rise.  A  pre])arat()ry  step 
to  the  side  can  be  taken  before  lu'inging  the  foot  into 
3rd  i)ositi()]i.    The  technical  word  for  Bow  is  reverence. 

Bourrec    (boo-i'ay),  stuffing.      (See   Pas  de   Pour-  ~^ 
ree.) 

Bras  (hinh),  the  ;iriiis.      (Sec  Port  de  Pras.) 

Bras  has  (Hrah  l);di),  arms  in   1s1   position. 

Brise    (b|'('('-s;iy ),  l)otll    feci    off  the   (loor.      The  one     , 
foot  ci'osses   whiK'  the  otlicr  makes  a   sliglit    counter-    ^ 
movement.    Similaj-  tf)  the  Kidj-ecliat,  but  only  one  foot 
does  the  ciossing.     (See  Prise.) 


39 

C. 

Cabriole,    (kali-bree-olo),  or   Capriole,   striking  of      Aw 
the  feet  or  legs  together  during  a  leap. 

Carre  (kar-ray),  a  square;  the  formation  in  which 
the  figures  of  a  square  dance  are  arranged. 

Cavalier,  gentleman. 

Change  (shahnj-ay),  change.  Bring  the  raised, 
back  foot  to  the  front  (4th  Raised  Position)  with  a  hop 
on  the  supporting  foot.  It  also  means  changing  the 
relative  position  of  the  feet, 

Chaugemeut  (shahnj-mahn),  act  of  changing.  (See 
Chaugeuunit  de  pied.) 

Change  en  I'air  (shahnj-ahn-lair),  changing  the 
relative  position  of  the  feet  in  midair. 

Chalne  (shayne),  a  iigure  in  which  the  hands  are 
alternately  given  in  meeting  another  dancer. 

Chalne  des  dames  (shayne  day  dahni),  lady's 
chain. 

Chasse  (shahs-say),  chasing  step.  One  foot  chases 
the  other.  (See  Pas  Chasse.) 

Chat  (shah),  cat.     (See  Pas  de  Chat.) 

Cheval  (shoe-val),  horse.    (See  Pas  de  Cheval.) 

Choregraphg  (ko-ray-grali),  the  art  of  represent- 
ing steps  and  movements  by  means  of  conventional 
signs.  A  short  hand  method  of  writing  dances.  (See 
Choregraphg.) 

Chute  (shoot),  a  fall  or  an  aiidil)le  step. 

Cin([  (sank),  five. 

Ciseaux  or  Sissonne  (see-so),  scissors.  (See  Pa^ 
de  Ciseaux.) 

Closed  Positions,  the  1st,  l^rd,  and  •'Ah  ])ositions  of 
the  feet,  and  J)oul)le  Crossed  Position. 

Col-de-pied  (kol-de  pceay ),  the  neck  of  tiu'  foot  or 
ankle. 


40 

Colic  (kol-lay),  both  lei;s  tiiililly  held  toi>x'ther  in 
midair. 

Co)ttr('dau.'<c  (koriitr-dahiis),  ori.n'nially  an  Kiii^'lish 
Country  Dance,  the  (hnieers  staiuHiin'  opitosite  eaeh 
other. 

CoittrctcHips  (korntr-tahni),  against  time  or  syn- 
copation.    (See  Contretemps.) 

Corp.^  (kore),  thi'  liody.     (See  Tour  dc  corps.) 

Coryphee  (kora-i'av),  a  (hincer  in  tlu'  elioi'us  of 
the  Ballet. 

Cote  (ko-tay),  side. 

CotiUo)!  (kot-eyon).  A  dance  known  in  America, 
as  the  German. 

Cou-dc-picd   (koo-de-])ee-ay),  tlie  instej);  ankle. 

Coup  dc  tdlou  (koo-de-tahlon),  striking  the  heels 
together  as  in  the  Polish  Maznrka. 

Coupe  (koo-pay),  cut.     (See  P(is  Coupe.) 

Cour  (koor),  court. 

Couraiilc  (kor-rant),  Ancient  Dance.  (See  Pas 
Couraute.) 

Cour  he  (koor-bay),  curved. 

Couroinic  (koui'-on),  ci'own,  arms  in  olh  ))osition. 

Coda  (a  nuisical  term),  a  few  bars  a(l(hMl  at  the 
close  of  a  comi)ositioii  beyond  its  natural  tei'mination. 

Courtesfi,  form  of  salutation  for  the  lady.  (Jlide 
the  I'iglit  foot  into  2nd  i)ositioii,  dcf/ape,  and  ])lace  the 
left  foot  in  4th  rear  position;  cair\-  the  weight  over 
onto  the  left  foot,  bending  the  left  knee  \-e)\\-  much  and 
the  right  knee  slightlw  l*(  iid  the  nppci'  paii  of  the 
l>ody  foi'waid.  Iiesume  erect  position  1)\  placing  the 
weight  on  the  right  foot  and  drawing  the  left  foot 
up  to  the  3rd  rear  jxisilion. 

Course  (kours),  I'uiniing.     (See  Pas  dc  Course.) 

Croise  (kiw-aze),  crossed. 


41 

Cross  Pass,  the  free  foot  crossing-  or  passing  in 
front  or  in  back  of  tlie  supporting  leg  one  or  more 
times.  It  is  done  between  counts  and  is  finished  with 
an  extension  to  2nd  raised  position. 

Cuisst  (kweece),  thigh.     (See  Temps  de  Cu'isse.) 

D. 

Da  capo  (dah-kah-po),  musical  term  signifying- 
that  the  music  is  to  be  repeated  from  the  beginning.  It 
is  most  usually  applied  to  movements  like  the  ^linuet 
and  Trio. 

Dal  segno,  musical  term.  When  the  repeat  is  not 
to  be  from  the  beginning,  the  words  Dal  segno  (from 
the  sign)  are  used,  directing  the  musician  to  the  sign 
whence  the  repeat  is  to  be  made. 

Dame  (dahm),  a  lady. 

Danseur  (dan-ser),  the  male  dancer. 

Danseuse  (dan-soez),  the  female  dancer. 

Dais  (daze),  platform  with  canopy. 

Debut  (day-boo),  first  appearance. 

Debojtes  (day-bwah-tay.)  Pass  from  5th  to  5th 
position  in  the  closest  manner  possible  on  po'uites  or 
Demi  pointes. 

De  cote  (day-ko-tay ),  at  the  side. 

Dedans  (day-dahn),  iiiwardl\-  or  in  front. 

De  face  ((hiy-fes),  facing  fi'ont. 

Degage  or  Degagrr  (day-gah-zhay),  to  disengage; 
generally  accompanied  by  a  change  of  weight;  trans- 
ferring the  weiglit  from  otic  foot  to  the  othei'  in  any  of 
the  positions,  but  usnallN"  in  open  positions. 

Degagcnniil  (day-gaazh-mahn),  act  of  transfer- 
ring. 

DeJiors  (dny-oi-),  ontwai'dly  oi-  in  hack. 

Demi  (dem-nie),  iiail'  (lie  h'liutli  of  the  strith-  with 
a  bent  knee.  It  is  of  coni-sc  connecteel  with  open  posi- 
tions only,  raised  or  on  the  lloor. 


42 

Demi,  clia'ni;  liall"  a  chain,  oi-  just  half  rounrl. 

Demi  coiitrcfcnips  ((U'liu'-koiit r-taliiu).     (See  Cou- 
trefemps.) 

DcHii  coiiroi/uc,  one  hand  laiscd  above  the  lu'ad. 

Demi  pontics,  not  quite  on  the  extreme  tips  ol'  the 
toes. 

Drrouh'  {da\'-rooday ),  to  unroll. 

Dcscciidrc  (de-saliii-dr),  to  descend;  moving  down 
stage. 

Dessous  (des-soo),  under  or  in  back. 

Dessus  (des-see),  over  or  in  front. 

Deux  (der),  two. 

Deux  fonps  (der-tahm).     A  count  of  two  steps  to 
any  dance. 

Denierc  (der-yer),  l)ehind. 

Drtounir   (day-toor-nay),  turning;  making  a   full 
turn. 

Devaut  (day-valm),  in  front. 

De  voile  (day-vol-lay),  Hying. 

Developpc  (day-vel-lo-pay),  to  unfold;  to  develop. 
(See  Developpe.) 

Dirrrtk^scniciif  (de-ver-tis-mahn),  a  diversion;  an 
entertainment. 

Douhir  (dou-blay),  doubled. 

D(>s-a-(h)s    (doli-za-doli),    back    to    ))ack;    op[)osite 
fi'om  vis-a-vis, 

Droifr  (di'oo-ali),  right. 

Duo,  dance  for  two. 

Kcdifr  (ay-car-lay),  to  si)read  or  to  separate  the 
feet  while  in  midair.     (See  Krarff.) 

£cha)jp('  (ay-shahij-jjay ),  feet  from  a  closed  to  an 
open  jjosition  (2nd  position).     (See  ^chappe.) 


43 

Ecole  (ay-kol),  a  school. 

Elevafion,  the  heiolit  of  the  raised   foot   or  feet 
from  the  floor.      (See  Elevation.) 

Elevatiou    (grand),    a   great   height    attahied    in 
springing'. 

Elevc  or  el  err  r  (ail-vay),  to  rise  on  the  toes  of  one 
or  both  feet. 

Emhoite  (en-bwah-tay),  to  tit  in;  to  join;  to  box. 
Same  as  dehoites.     (See  Pas  Emhoite.) 

En  Avant  (ahn-ah-vahn),  to  advance,  or  forward. 

En  Arriere  (ahn-ah-re-air),  to  retire,  or  rear. 

Encliahiemeut  (ahn-shayn-mahn),  combination  of 
steps.    A  dance  phrase. 

Encore  (ahn-kor),  repeat. 

En  dedans,  inward. 

En  dehors,  outward. 

Entier,  entirely. 

En  I'air  (ahn-lair),  in  midair. 

Enpassant  (an-pahs-san),  in  passing;  one  foot 
passing  the  other  or  one  person  passing  the  other. 

En  premiere  (an-prem-year),  in  or  through  the 
first  position. 

Enfouriianf  (ahn-tonr-nant),  with  turn,  or  while 
turning. 

Enfre  (ahn-tray),  enl  ranee  of  a  dancer. 

Eittreeliat  (ahn-tr-shah),  weaving  or  braiding. 
Crossing  and  recrossing  the  feet  during  a  spring.  (See 
Entrechat.)  '  '"" 

Epaulenieni  (ay-pol-mahnt),  the  use  of  the  shoul- 
ders in  placing  the  body. 

Eiinilihrc  (ckwi-lil)!-),  ('(inilibi-juin  or  balance. 

Ejct elisions,  to  extend  the  foot  in  aiiv  direct  ion 
from  a  closed  to  an  open  position,  reacliing  for  the 
position  with  the  toes  leading,  and  the  leg  held'  perfectlv 
straight.     {^dQ  Extensions.) 


u 

F. 

Fermer  (fair-may),  to  close. 

Finale,  the  end. 

Fleuret  (fler-ay),  a  i'oil.  In  dancing  it  means  a 
quiver  or  shake  of  the  foot. 

Flexion,  i>cnerally  associated  with  liending  the 
knees. 

Flora,  Goddess  of  Flowers. 

Fondit  (f on-dee),  to  sink;  to  bend  the  supporting- 
leg"  while  the  other  is  raised. 

Foiiette  (foo-ett-ay),  whip.    (See  Fouetfc.) 

Frotter  (frot-tay),  to  rub;  the  foot  rubbing  the 
floor. 

Frappe  (frahp-pay),  to  beat  or  stamp  the  floor. 

G. 

Gauche  (gohsh),  left. 

Garotte  (gah-vot),  dance  introduced  in  France  in 
the  IGtli  Century,  written  in  4/4  rhythm,  abounding 
in  salutations  and  stately  movements;  a  great  favorite 
with  ]\Iarie  Antoinette,  who  danced  it  most  artistically. 

Genoux  (jlien-u),  knee. 
-  Glissade,  glide  the  foot  in  any  direction,  transfer 
the  weight  and  draw  the  other  foot  to  it.    It  requires 
two  changes  of  weight ;  oft  called  a  Spanish  Draw  Step. 

Glisse  (gle-say),  glide  the  foot  into  any  position, 
without  a  transfer  of  weight. 

Grand  (grand),  large  or  great.  To  its  fullest  ex- 
tent. 

Grand  IJaltentents.     (See  Grand  Jiallenienls.) 

Grand  Jetc  dessus  en  tourant,  Jete  Turn.  (See 
Jete.) 

Grave  (grav),  slow;  majestic.     (See  /•*<'/.s'  Grare.) 

H. 

Hop.    (See  .SV//^/r.) 


.  .45 

J. 

Jamhe  (zhamb);  the  leg-. 

Jete    (zhet-tay),    l^ouiidiiig;    bound    and   rebound. 
'(See  Jete.) 

Jete,  Tom  me,  a  boundino-  turn. 

L. 

La  tete  (tate),  the  head. 
Lateral,  to  the  side. 

Leve  (lev-ay),  raised,  as  appUed  to  the  free  foot, 
which  is  lifted  from  the  floor. 

Leve,  temps,  raise  one  leg'  and  hop.  (See  Siring 
Step.) 

M. 

Main   (man),  the  hand. 

Malt  re  de  Ballet,  ballet  master,  or  a  composer. 

Mime  (mcem),  the  name  given  to  one  who  acts  in 
Pantomime.  (See  Pantomime.) 

Moulinet  (moo-lin-nay),  a  turnstile  or  mill;  a  form 
in  which  the  dancers  move  around  each  other  with 
hands  joined  and  crossed. 

N. 
Nage  (nahjh),  swimming.     (See  Pas  de  Xage)^^ 

0. 

Oi^en  Turn,  a  turn  in  open  position.  Place  the 
right  foot  in  2nd  position,  turn  on  same  liy  l>ringing  the 
left  foot  all  around  in  front  of  right  and  finish  the 
turn  with  the  left  foot  pointed  in  4th  position. 

O/jcn  Position,  those  positions  vrith  the  feet  a])ait. 
(See  Positions.) 

Ourcit  (oo-vair),  open,  separating  the  legs  side- 
ways. 

P. 

Pas  (pah),  a  step;  same  as  a  word. 
Pas  de  deux,  a  dance  for  two  ijcrsons. 


4(5 

Passe,  passing-  or  passed. 

Passe  la  jamhc,  passing  the  leg;  one  leg  i)aysing 
the  otluT. 

Pas  srul,  a  dance  executed  l>y  a  single  person. 

Passcpicd,  passing  the  foot  either  front  or  in  back 
of  the  other,  generally  on  the  Point cs. 

Pas  siir  Jcs  poiutcs,  steps  on  the  extreme  points. 

Penclie  (panshe),  leaning. 

Pendyl  (pendnl),  pendulum.  Whip  the  foot  front 
and  back  of  the  other,  keeping  the  leg  straight.  (See 
Foueiie.) 

Pet  if  (pet-ee),  small. 

Pied  (pee-ay),  the  foot. 

Pique  (pee-kay),  a  deliberate  shooting  forward  of   ^UV/'^  / 
the  whole  body  from  both  feet  on  to  one  foot.  ,  ^ 

Pirouette,  one  or  more  complete  turns  on  the  toe 
or  ball  of  one  foot.  (See  Pirouette.) 

Pivot e  or  Pivot er  (piv-ot,  piv-ot-ay),  to  turn  or 
pivot  on  the  one  foot.     (See  Pivote.) 

Plane  (plahn-ay),  soaring. 

Plaee  (plas),  correct  placing  of  the  dancer. 

Plie  or  Plier  (plee-av),  bending  the  knees.  (See 
Plir.) 

Pose,  a  pose.  The  body  supi)orted  on  the  one  foot 
with  the  other  pointed  or  raised. 

Poiiite,  position  assumed  on  the  exticiiic  ])oiiit 
of  the  foot.  A\'hen  we  say  "])oint  the  foot,"  there  is  ab- 
solutely no  weigJit  ui)on  it.  This  is  of  course  different 
with  Toe  Steps  or  steps  Siir  Ics  pointes. 

Point  ('tiaiif/cs,  changing  the  relative  i)osition  of 
the  feet.  S])ring  on  I'ight  foot  and  same  time  jxtiiit 
left  foot  to  Demi  4tli  ])osition,  now  make  Point  ('lionf/e 
by  s])ringing  on  the  Id't  fool  and  point  the  i-igiit  foot 
in  Demi  4tii  i)ositi(»n. 

Polonaise,  a  f/rand  miucli.  (Also  sec  I'as  Polon- 
aise.) 

Port'''  or  Poller  (paw4ay),  to  cai'ry  the  foot  or  to 
lift   the  foot   into  a  position. 

Port  dc  llras.  (See  Port  dc  Pros.) 


47 

Positions  cii  Vair,  positions  in  midair,  or  Raised 
Positions. 

Pousee  (poo-say),  to  knock,  to  push. 

Premiere,  first  ])osition  or  the  ijriii('i])al  dancer  in 
the  Ballet. 

Prelude,  opening-  or  introduction  of  a  dance. 

R. 

Raecourci  (rakoursi),  short. 

Raniasse  (rah-may-say),  to  pick  up.  \     / 

Releve  (rel-a-vay),  a  developpe  while  rising  ^n  the 
other  toe.    {See  Releve.) 

Renverse  (rahn-ver-sajO?  ^  turn  in  wliicli  the 
dancer  seems  to  be  upsetting  the  normal  balance  yet 
retaining  his  equilibrium.     (See  Renverse.) 

Retomhe  (re-tom-bay ),  fall.  Spring  on  both  feet, 
then  pitch  forward  on  the  one  foot  with  the  other 
raised. 

Retraverse  (ray-trah-ver-say),  to  recross,  or  re- 
turning to  your  original  place  after  having  crossed  to 
the  opposite. 

Revereiiec,  a  form  of  salutation  for  the  lady  and 
gentleman. 

Reverse,  the  movement  is  repeated  with  the  other 
foot  in  the  other  direction. 

Roeliinf/  Step,  a  step  used  in  tlic  Hornpipe.  IMace 
the  feet  in  5th  i)()sitiou  then  lifting  movement  of  one 
heel,  and  quickly  fall  on  the  other  witli  a  dcf/uffe.  The 
movement  of  the  knees  from  side  to  side  ])ro(hices  a 
rocking  effect  if  repeated  a  number  of  times. 

Ronde,  a  circle;  dancers  moving  around  in  a  circle; 
leg  describing  a  circle.     (See  Roiids  dc  Janihe.) 

Rond  de  Jam})e  en  fair,  foot  describes  a  circle  in 
the  air.     (See  Rond  de  Jamhe.) 

Rond  de  Jamhe  a  ierre,  foot  describes  a  circle  on 
the  floor. 

Roulclle,  turning  while  in  Arabesque  Pose.  (See 
Arabesque  Turn.) 

Ruer  (ru-ar),  kick. 


48 

S. 

Sdiifr   (so-tay),  iu)p.     A  slii;iit  spriiii;'  on  I  lie  one 

foot  with  the  other  raised,  retuniiiig  on  the  same  foot 

at  the  same  phvce. 

Scis'^ors  Step.     (See  Fas  dc  Clscaux.) 

Stay  Turn;  the  word  stay  is  a  corruption  of  the 

word  Jt'/(',  and  is  used  in  Kn,<;land  in  connection  witli  a 

J('fc  Turn. 

StratJispi'ij^  a  movement  named  after  tlie  Scotcli 
town  of  Strathspey;  a  point  in  ()i)en  position  and  a 
quick  drawiuii'-in  movement  of  the  foot  to  the  knee  of 
tile  sui)porting  leg-,  accompanied  by  a  hop. 

Souhersauf  (soo-br-soo),  drawing  the  feet  up  un- 
der the  body  during  a  (jraud  EJcrafion ;  a  Tcuips  Leve 
with  both  knees  bent. 

Soutenu  (soo-tay-nee),  sustained,  smooth  move- 
ment. 

Sp'iu  Turn,  turn  ciuickly  on  one  toe. 

Spin  Turn  iu  Arabesque,  quick  turn  in  Arabesque. 

T. 

Taper,  to  tap. 

Temps  (tham),  a  syllal)le  or  a  part  of  a  step. 

Temps  leve.     (See  Leve  Temps.) 

Tendre  (tahn-dr),  to  stretch;  opposite  of  Plie. 

Tendu  {Pas)  {pah-faJni-doo).  (See  Pas  de  zcp- 
liire.) 

Trrrc  a  icrrc  (tehi"-ah-telir ),  a  gliding  step. 

Termes  dc  dausc,  terms  used  in  dancing. 

Tete  (tate),head. 

Tlrree-Stcp-W(d1{  Tun/,  a  tni'ii  with  liirce  walking 
steiJS.     (See  Turns.) 

Tomhe  or  Totnhcr  (tom-ba>),  railing  or  pitching. 

Torso,  the  trunk  of  the  bo(l\-. 

ToriUJf  (taw-tee-yay ),  twisting  or  tni'ning  the  toes 
inwaid  and  onlwai'd;  nscd  in  ninn\  cliai'aclcr  dances. 

Tojir  (toor),  a  turn. 


49 

Tdni  cii  J'-iir  (loor-ah-lair),  tuv)iin<;-  tlic  body  in 
mid-air. 

Tour  dc  hidiiis  ( toor-day-iiinii ),  turn  Ijy  the  hand. 
F'artners  join  hands  and  move  around  each  oilier. 

Tour  dejamhe,  turn  the  leg". 

Tour  sur  place,  turn  at  place. 

Touriir  (too-nay),  tui'iiing. 

Two-Siep-Walh  Turn,  a  turn  with  two  walking 
bteps.     (See  Turns.) 

Traverse  (trah-ver-say),  crossing,  as  to  cross  to 
opposite  place. 


face. 


V. 

Vis-a-vis   (ve-zah-ve),  facing  each  other;  face  to 


Z. 

Zt'j>hire  Pas  de,  a  light,  l)reezy  step.     (See  Pas  de 
ZepJtire.) 


Anita   Preston,  "The  Blue   Danube   Waltz." 


50 


RULES 

1.  Steps  arc  llic  nieaiis  to  cnvvy  out  a  t lioiii^lit  ; 
therefore,  aftci-  tlie  mechanical  ])ait  of  (lanciiig  has 
been  thoioiiuiily  iiiasteroti,  the  spiritual  s'uU'  sliould 
predoniiiiate. 

2,  All  (lilht'iilt  stei)s  should  appear  easy  and  the 
easy  steps  shoultl  be  performed  in  a  very  elaborate  and 
showy  manner.  Dancing  should  never  appear  labor- 
ious. 

'A.  Always  associate  a  short  sle[)  with  a  (puck  one 
and  a  long  step  with  a  slow  one,  and  remember  that 
any  stej)  can  be  arranged  to  any  rhythm. 

4.  The  step  and  the  direction  in  which  the  stej)  is 
taken  are  the  most  important  things  to  be  considered. 

5.  In  order  to  obtain  true  balance,  the  center  of 
gravity  must  always  be  maintained.  In  other  words, 
the  bodv  must  be  accui'atelv  i)laced  over  the  supporting- 
foot. 

6.  Regulate  all  your  movements  to  that  oi'  the 
music;  the  Port  de  Bras  and  the  foot  work  alike. 

7.  Turn  the  toes  outward  and  in  raising  the  foot, 
point  the  toes  downward,  alwa_\s  showing  the  entire 
form  of  the  foot. 

8.  Begin  every  stej)  with  the  free  foot  and  make 
the  ending  of  one  step  the  beginning  of  the  next. 

9.  Arms  must  always  move  in  opposition,  excei)t  in 
very  light  movements  or  during  a  transition  when  the 
law  of  ()])position  is  sometimes  \-iolated. 

10.  Ih'iid  the  body  and  turn  the  head  toward  the 
rear  crossed  foot. 

11.  A  raise  of  the  one  foot  is  generally  accom- 
l)anied  with  a  hop  on  the  supporting  foot. 


PRACTICE  OF  DANCING 

Ifoir  shoiihl  (I  t ((iclicr  shirl  a  Ucfinnicr  iclio  desires 
fo  ham  Classiedl  Ddueiiif/.^ 

Observe  carefully  the  cai'i-iage  of  the  bods-,  and 
correct  any  defects  in  tlial  hne.  7'rr/r//  I  he  slnilenl  fo 
walk  firaccfulhj  hrfore  (illeni pl'nn)  lo  /laiiee.  After 
which,  a  careful  study  of  the  fundamental  positions  and 


51 

proper  application  of  the  feet  should  be  made  and  the 
entire  body  strengthened  by  the  practice  of  exercises 
designed  for  that  purpose. 

How  should  preparatory  exercises  he  practiced  in 
order  to  derive  their  fidl  benefits 

Practice  the  preparatory  exercises  at  the  Ijar;  at 
first  slowly,  then  more  rapidly. 

What  is  the  harf 

The  bar  is  a  support,  or  rod  placed  along  the  wall 
about  the  height  of  the  chest,  to  assist  the  dancer  in 
balancing  the  body.  Grasp  the  same  with  one  or 
both  hands,  as  it  is  found  necessary.  Remember,  it 
should  be  used  only  in  preliminary  work  and  vei-y  lit- 
tle weight  should  rest  upon  it. 

Whij  is  the  bar  usedf 

To  give  strength,  correct  all  physical  defects  and 
to  turn  the  toes  and  the  hips  outward  to  the  extreme. 

75  a  great  deed  of  practice  at  the  bar  advisedf 
Give  your  reasons. 

No,  not  too  much.  Extreme  j^ractice  at  the  bar 
would  be  detrimental  rather  than  beneficial.  The  bar 
practice  is  rather  a  mechanical  operation  and  often 
(when  done  to  excess)  causes  the  nuiscles  to  become 
overstrained  and  knotty.  This  is  oft  observed  in  the 
professional  foreign  dancer  and  the  over-ambitious 
student.  Pavlowa  tells  us  that  the  Russians  were  at 
first  over-trjiined,  which  was  no  doubt  caused  ])y  too 
much  bar  work.  0]ie  hour  each  day  at  the  bar  is  suffi- 
cient. 

I  find  from  personal  experience  that  one  need 
hardly  fear  that  our  American  r/irts  {irith  liut  few  ex- 
ceptions)  will  ever  suffer  froin  too  much  practice. 

On  tltc  contrary,  they  seem  to  depeitd  almost  en- 
tirely upon  their  natural  gifts  and  cliarnis;  their  per- 
sonality or  in/liicnce,  for  success. 

How  should  file  feel  lie  placed  wJiile  exercising  at 
the  barf 

The  feet  should  be  placed  in  the  r^xtrcnie  I'allet 
Positioji;  feet  at  i)()  degi'et's. 

WJidl  is  the  ))raetlee  at  the  bar  ((died? 
It    is  called   Side   Practice;   the   foundation   upon 
which  execution  is  built. 


52 

After  Side  Practice,  ivliai  is  ihc  iicii  prof/rcssioii? 
The  next  is  Center  Practice. 

WJiaf  is  )H('aiif  hi/  Ccufcr  Praclieef 

Center  Practice  is  ))erformiii,n-  all  the  exercises 
(which  were  previously  done  at  the  bar)  in  the  center 
of  the  room  Avitlunit  any  snpport.  This  is  to  improve 
and  perfect  the  halaiicc 

/;/  what  position  arc  tJic  feet  placed  in  sfartiiif/ 
Center  Practiccf 

An  advanced  student  bei»ins  from  the  o\\\  i%)sition. 

After  all  the  movements  of  the  legs  have  been  prac- 
ticed, icliat  foUotvs  in  order? 

Next  is  the  careful  study  of  Port  de  Ijras. 

How  sJiould  ihc  exercises  of  Port  de  Bras  he  prac- 
ticed? 

All  the  arm  movements  or  Port  de  Bras  should 
lie  practiced  in  front  of  a  mliror,  until  natui'al  i»'race 
is  ac(|uired. 

After  the  Preparalori/  Exercises,  Hide  Practice, 
Center  Practice  and  Port  de  Bras,  ivhat  follows? 

Next  in  order  are  the  Enchainenients  (ahn-shayn- 
mahn)  or  Phrases,  Avhicli  are  combinations  of  move- 
ments of  the  feet  and  arms. 

'To  ivhat  do  tlie  Enchainonents  lead? 
ICnchainements  or  Dance  l^lirases,  lead  to  the  com- 
plete, or  finished  dance. 

Give  an  onliine  i-ef/ardin//  the  lenf/f]i  of  time  a 
])rofcssio)i(d  dancer  slionld  derote  to  work  each  daif. 

This  is  rather  a  difficult  (juestion  to  answer  as  the 
leni>tli  of  pi'acticc  depends  eidirely  upon  the  dancer's 
])hysical  endurance.  At  aii>"  I'ate  two  to  four  hours  a 
day,  for  actual  practice  is  not  too  loiii^a  time  and  would, 
in  the  course  of  a  few  years,  brinn'  al)ont  wonderful  re- 
sults. An  honr  oi*  two  each  day,  in  addition  to  the  act- 
ual |)iactice  of  t e('lini(iue,  should  he  set  aside  t'oi'  the 
stud\'  of  nuisic  and  another  i)ei'iod  for  the  study  of  the 
histoi-y  of  the  dance,  Costumes,  and  the  French  Lan- 
^ua^'e.  One  can  \ery  easily  devote  the  entire  day  to 
study  and  (-nly  the  dancer's  love  of  the  ail  will  bi-ini:,' 
about  perfection. 


53 

Wliat  exercises  are  uichulfd  In  fJn-  da'thj  roufiiic  of 
a  professionalf 

Plies,  Eleve  in  all  positions,  Petit  and  (Iraii/I  Bat- 
tements,  Developpes,  Grand  Rand  de  Jambes,  etc. 

Side  Practice — Assembles,  Coupes,  Jetes,  Bour- 
rees,  Pas  de  Basque,  Pas  de  Chat,  Chaugement  de  pieds, 
Echappe,  Ecarte,  Entrechat,  Brise,  Pirouettes,  etc.,  then 
Port  de  Bras  for  at  least  an  hour.  This  is  a  fair  out- 
line of  the  French  Technique  which  should  be  followed 
by  an  hour  or  two  of  the  (ireek  Dancinii,'  Begin  this 
with  the  Plastic  Poses,  Komping  and  Plying  move- 
ments. Playing  B'all.  Throwing  the  Lance,  etc.  The 
practice  of  the  Greek  exercises  will  bring  about  great 
lightness  particularly  of  the  upper  part  of  body. 

Adeline  Genee  says:  "Every  day  lirings  its  hour,s 
of  practice,  Iavo  hours  of  real  hard  work,  then  liefore 
each  performance  1  do  twenty  minutes  of  Side  Practice 
before  taking  a  single  step  on  the  stage.  Even  when 
dancing  is  mastered,  it  demands  incessant  work  and 
sacrifice  from  the  dancer  who  wishes  to  be  a  worthy 
exponent  of  the  art.  A  Dancer's  work  is  never  done." 

She  further  says  that  dancing  is  the  finest,  and 
most  infallible  antidote  to  bad  temper  and  unhappiness. 


54 


POSITIONS 

M'ltdf  is  inidcrstood  ht/  Posit ioiisf 

Positions  iwv  11r'  a.  B.  C  of  Dancing';  tlic  I'oun- 
dation  n])on  which  the  (huicc  is  built. 

Jloir  mauii  positions  arc  iiuircrsdlli/  iccojinizcd  as 
ihc  Fuiid(i)}i('iital  Positioiisf 

Five  positions  arc  recognized  as  the  Fundamental 
or  Tnie  Positions  ? 

WJio  is  respousible  for  having  fomnilatcd  these 
positions  in  their  respective  order f 

Charles  Beaucliamp,  Ballet  Master  and  member  of 
the  Academic  de  Danse,  Paris,  is  credited  with  having 
arranged  these  positions  in  their  present  order. 

Why  is  it  so  few  positions  hare  Jjceii  adopted  and 
considered  sufficient  for  tJie  foundation  of  the  Art  of 
Danci)i(j? 

First,  to  simplify  the  Ait,  and  second,  to  give  the 
most  natural  positions  of  the  feet. 

Into  how  )nanii  etasses  are  the  Five  Fundamental 
Positions  placed? 

Into  seven  classes.  1st,  Point  Positions;  2nd,  Toe 
Positions;  3rd,  Ball  Positions;  4th,  Sole  Positions;  5th, 
Heel  positions;  Gtli,  Jhiiscd  Positions;  7th,  Jiurard  Po- 
sitions. 

To  u-Jiieh  foot  is  tJic  position  ijiven,  or  which  foot 
is  entitled  to  the  })ositionf 

To  the  free  or  executing  foot. 

Tell  Jiou-  tJir  Five  Funda))ient(d  Posit  ions  are  taken. 

1st  Position  ( sonirt  inns  ((died  ^^ditar//  Position) 
— Place  tin'  heels  togcthci-  ;nid  Iniii  Ihc  t(/es  out  a1 
right  angles. 

:^nd  Position — Place  llic  one  fool  to  the  side,  the 
distance  of  a  stcj),  toe  touching  the  (loor  and  the  heel 
under  the  foot. 

3rd  Position — P>i'in,u  the  iiccl  of  the  one  loot  into 
the  hollow  or  middle  ol'  the  otiici'. 


55 

4fh  Posiiiou — ^Plaee  the  one  foot  in  front  of  the 
other  (as  in  walking) ;  little  toe  touching  the  floor  and 
the  heel  turned  to  the  front,  on  a  line  with  other  heel. 

5tli  Position — B'ring  the  heel  of  the  one  foot  to,  and 
in  front  of  the  toe  of  the  other. 

Hoiv  arc  tJie  Five  Fiuidamcuial  Positions  divided 
and  sul)diridedf 

They  are  divided  into  Open  and  Closed  Positions ; 
subdiridcd  into  Modifications  and  Variations. 

D'liich  arc  Closed  Positions^  and  jvhijf 
The  Closed  Positions  are  the  1st,  3rd  and  'jth. 
They  are  called  Closed  because  the  feet  are  close 
together. 

Which  are  the  Open  Posifiotis,  and  ichy? 
Open  Positions  are  the  2nd  and  the  4th. 
They  are  called  Open  Positions  because  the  feet 
are  apart,  or  open. 

What  other  names  given  to  the  Closed  and  Open 
Position'.' f 

Closed  Positions  are  also  called  Positions  of  Re- 
pose. 

Open  Positions  are  called  Positions  of  Action. 

Mluit   is   )ncant   hi/  Modifications  and   Wiriationsf 

Modifications  mean  the  Intermediate  Positions 
(positions  that  are  between  two  Open  Positions)  and 
the  Crossed  Positioiis  (one  foot  crosses  the  otlier). 

Variations  me  the  different  parts  of  the  foot  placed 
in  the  position  called.  The  Point,  Heel,  Inward,  Raised 
or  Flowing  Positions  l)elong  to  the  class  termed  Varia- 
tions. 

Modifications  hear  the  same  n  lotion  to  tlie  dance 
as  half  tones  i)i  music.  ]^ariatio)i^  woidd  be  the  same 
as  a  change  of  fingers  placed  upon  the  same  hey. 


L.F. 


56 

LF.&RF 
4^"  POS. 


RF. 


4^"  REAR 
P05. 


L.F&R.F 

Newman  System  of   Locating   the   Foot  Positions. 


Iloic  do  icr  fii/<l  flic  exact  locdfloii  of  flic  j)oslfioiisf 
Hy  tlu'  Cai'diiial   Points  oL'  llic  Compass;  for  ex- 
ami)l(' : 

Di'aw  a  circle  on  the  llooi  al)out  tlii'ee  feet  in 
diameter  and  stand  in  the  center.  Direct  the  riii;lit 
foot  to  the  side,  or  to  tlie  East  and  it  will  1)e  in  ;J)id 
Position;  to  the  front,  or  North,  would  l)e  the  ^tli 
Position.  'W)  the  I'ear,  oi'  South,  the  4th  Rear  Po- 
sition. Between  the  "Jnd  and  the  4th  (forAvard),  or 
Northeast,  is  tin-  I nfcmiediate  I'osition.  To  the 
i-eai',  or  Southeast,  is  the  Intciinediate  Pear  Posi- 
tion. If  the  I'iuht  foot  is  ])laced  across  the  left 
foot  lowai'd  the  Xorlhwest,  it  is  in  Crossed  Posi- 
tion, and  when  the  left  foot  towai'd  the  Southwest, 
it  is  in  Crossed  Hear  Position.  This  ap])lies  also 
to  the  left  foot  when  it  crosses  the  right  foot. 


57 

What  relation  are  the  positions  of  the  dance  as 
compared  to  music  or  to  a  hDigiiagef 

The  positions  are  the  same  relation  to  the  dance 
as  the  notes  to  music,  or  the  aljjhabet  to  a  huiguage. 

What  do  the  Five  Fiiiidameiit(d  Positions  Express? 

According  to  Bernhard  Klennn,  tlie  1st  Position 
expresses  Attention,  or  Alertness;  2nd  Position,  Assur- 
ance, or  Confidence;  3rd  Position,  Modestij;  4th  Posi- 
tion, Pride;  5th  Position,  Artistic  Finish. 

What  is  the  difference  betwefn  the  True  Positions 
and  the  Inward,  or  False,  Positions^ 

True  Positions  are  those  with  the  toes  turneil  out- 
ward. Inward  Positions  are  those  with  the  toes  turned 
inward,  or  toward  each  otlier. 

What  are  tlie  positions  called  uln  u  the  wifilif  is 
equalli/  distrihuied  on  both  feet/ 

These  positions  are  called  the  Double  Posit  tons. 

How  would  i/ou  go  from  one  double  position  into 
another? 

By  a  spring,  alighting  on  l)oth  feet  at  the  same 
time.  For  example:  In  the  Echappe  (Double  2nd  Posi- 
tion), spring  and  alight  in  (Double  5th  Position).  In 
the  Changement  de  pied  from  Double  5th  Position 
(right  foot  front),  spring  and  change  the  relative  ])<)si- 
tion  of  the  feet,  alighting  in  Double  5th  Position  (left 
foot  front). 

At  uhal  aiKile  must  fin-  fool  be  placed  upon  the 
fioor? 

Always  outward  at  a  riglit  angle  of  45  degrees. 

When  one  f,)ot  is  in  back  of  the  ottier,  irtttit  posi- 
tion is  if  called/ 

All  positio]].s  in  l)ack  of  llic  'Jiu!  I'osilion  arc  i-allrd 
h*(  (ir  Positions;  directly  to  the  wiw.  and  \'vv{  apart,  is 
the  4th  Hear  Positiou.  When  placed  so  that  the  toe  of 
the  rear  foot  touches  the  hack  of  the  heel  of  the  front 
foot,  the  rear  foot  is  in  .".///  h'lar  Position.  When  the 
rear  foot  is  so  placed  that  the  middle  of  it  touches  the 
heel  of  the  front  foot,  the  rcai-  fooi  is  in  ::rd  H,  ur  Posi- 
tion. 


58 

WJioi  one  foot  /\s"  broiif/Itt  (IiohikI  in  I  rout  of  flic 
oilier,  or  ciitiiiiics  the  otJwr,  so  to  speak,  ivliot  is  this 
posiiion  calledF 

It  is  a  Double  Crossed  Position,  as  it  practically 
crosses  the  other  foot  t^nce.  There  is  no  such  thing  as 
a  Rear  Donlile  Crossed  Position. 

Wluif  is  (I  Demi  Position^ 

The  word  Demi,  as  ai)plied  to  i)ositions,  means  a 
half  position,  or  a  quarter  of  a  step.  There  are  no 
Demi  Closed  Positions.  A  Demi  Position  is  taken  leiiti 
the  knee  lient. 

Is  a  Raised  Position  the  same  as  a  Floirinn  or  Ele- 
vated Position,  and  how  is  it  descrihedf 

Yes.  The  one  foot  retains  the  weight  of  the  body, 
while  the  other  is  raised  from  the  floor  in  any  direction. 
If  it  is  raised  to  the  side,  it  is  called  Raised  2nd  Posi- 
tion;  when  raised  in  front,  it  is  the  Raised  4th  Position, 
etc. 

Into  lioir  inani/  classes  are  the  Raised  Positions 
divided!^ 

Into  two  chisses,  the  same  as  the  Fundanieiital 
Positions,  Open  and  Closed.  A  Demi  Kaised  I^)sition 
is  a  modification  of  the  Raised  Position. 

The  Closed  Raised  Positions  need  only  to  l)e  ex- 
})laiiied,  as  the  Ojyen  Raised  Positions  are  easily  under- 
stood. "\Mien  the  heel  of  the  free  foot  is  raised  directly 
above  the  side  of  the  heel  of  the  supporting  foot,  the 
free  foot  is  in  Raised  1st  Position.  Above  the  middle 
of  the  supporting  foot  would  bring  the  free  foot  in  .V/v/ 
Raised  Position,  and  above  the  toe  would  be  the  .-)/// 
Raised  Position.  Tf  it  is  brought  to  the  rear  of  the 
su])poi-tiiig  foot,  it  is  in  ord  or  5th  Rear  Raised  Posi- 
tion. All  the  Closed  Raised  Positions  must  be  taken 
with  a  iM'iit  knee.  The  height  of  the  raised  fool  is  reg- 
ulated .l;y  the  degi'ees  of  elevation. 

Ihnr  do  i/oi(  locate  a  liaised  Position!^ 
A  Raised  Position  is  locntcd  just  aboxc  the  corre- 
sponding position  on  the  floor. 


59 

Is  fliere  (11/1/  ofJicr  itunic  for  Raised,  or  Floiciiif) 
Positions^ 

They  are  sometimes  called  Balance  Positions,  as 
the  body  is  balanced  on  the  one  foot  while  the  other 
takes  the  position. 

Is  the  foot  always  raised  the  sa)iie  height  from  the 
floorf  If  not,  hotv  are  the  degrees  of  elevation  regit- 
latedf 

The  foot  is  raised  at  various  heights,  as  indicated 
below : 

Ankle  high — 1st  Elevation. 

Knee  high — 2nd  Elevation,  or  Half  lllgli.    . 

Waist  high — 3rd  Elevation,  or  HlgJt. 

Shoulder  High — 4th  Elevation. 

Above  head — 5th  Elevation,  or  Super  High. 

It  may  be  well  to  mention  that  in  all  Classic  Danc- 
ing the  foot  is  never  raised  higher  than  the  line  of  the 
waist,  except  in  vSide  Practice. 

Hoiv  are  the  Raised  Positions  written  when  a  eer- 
tain  elevation  Is  desired  f    Give  a  few  exam  pies. 

Right  foot  in  2nd  Raised  Position,  Srd  Elevation, 
would  mean  that  the  right  foot  is  raised  to  the  side  at 
the  height  of  the  waist.  Left  foot  in  4th  Raised  Posi- 
tion, 2nd  Elevation,  means  that  the  left  foot  is  raised 
in  front  at  the  height  of  the  other  knee. 

\Vhe]i  both  feet  are  off  tlie  floor,  as  in  (1  raud  Eleva- 
tions, E)itrecliafs,  etc.,  what  are  tJie  j)Osltlons  called.^ 
Positions  En  I'Aii-  (Ariel  Positions). 

Are  there  (dso  Demi  liaised  Positions^ 

Yes,  taken   with   the  knee    bent,    and,    of    course, 

turned  to  the  side.     These  ])ositions  ari'  ver>    pojudar 

and  most  graceful. 

Give  a   convenient    }tietho'l   of   feaclilng   tJie   Five 

Positions  fo  ni lisle  In  4  4  liigfJim,  tdlilmi  In  tJie  front 

and  rear  positions  pro(i n  sslrehi. 

Call  the  chiss  to  Attention — First  Position — no 
music. 


60 

Right  Foot  to  2ii(l  Position — 1  moasnro. 

to  ',ln\    Position — 1   measure. 

"  "     to  4th    Position — 1  measure. 

"  ''     to  5th    Position — ]   measure. 

'*  "     to  4th   Position — 1   measure. 

to  ovd   l^isition — 1   measure. 

to  2nd  Position — 1  measure, 

"  "     to  1st    Position — .1  measure. 

(8  Measurks). 

Eepeat  the  same  with  the  Left  Foot — 8  measures. 

Rp]AR  POSITIONS. 

Kii>lit  Fool  to  2nd  Position — 1  measure.  ^ 

"         "      to  Ih'd  Pear  Position — 1  measure. 

"         "      to  4th  Pear  Position — 1  measure. 

"         "     to  5th  Rear  Position — 1   measure. 

"         "     to  4th  Rear  Position — 1  measure. 

"         "     to  ord  Rear  Position — 1  measure. 

'*         "     to  2nd  Position — 1  measure. 

"         "     to  1st  Position — 1  measure. 
(8  Measures). 
Repeat  the  same  with  the  Left  Foot— 8  measures. 

PREPARATORY  EXER(iSFS. 

After  the  students  have  acquired  a  thorough 
knowledge  of  the  various  positions,  their  attention 
should  be  directed  to  the  great  imi)ortance  attached  to 
the  practice  of  the  following  exercises,  which  tend  to 
produce  firm  and  flexible  muscles,  which  can  be  con- 
iractcd  and  relaxed  at  will. 

FXTFXSIONS. 

1^x1(11(1  the  foot  to  its  full  length  fi'oni  a  closed 
lo  an  open  j)osition,  I'etui'ning  to  the  closed  position.  vV)-'" 
Technically,  it  might  be  classed  with  the  Crdiid  BaHc-  ^  >> 
woits  a  trrrc,  with  the  excei)tion  that  the  I'Jrtciisioiis 
are  executed  in  I'cgnlar  (even)  time,  while  the  move- 
ments of  the  rJaUrniciit  are  more  or  less  syncopated. 
See  GraufI  (util  I'rlif  Jiath  nn  ufs. 


61 

111  all  tlie  Extensions  the  muscles  are  contracted, 
or  held  iirm,  while  reaching  the  position,  and  relaxed 
when  returning  to  the  closed  position.  BotJi  knees  must 
he  kept  perfeetly  straight. 

Throughout  the  various  exercises  music  written  in 
4/4  rhythm  (Gavotte  Tempo)  is  to  be  used,  except  when 
otherwise  mentioned. 

Music  4/4. 

Count  four  to  each  measure,  or  bar. 

(1)  (2)  (3)  (4)  are  counts. 

(X)  means  between  counts.  (XX)  two  move- 
ments between  counts.  R.F.  means  right  foot.  L.F. 
means  left  foot. 

Note — In  the  exercises  which  follow,  each  one  is 
done  4  times  with  the  right  foot  and  4  times  with  the 
left  foot,  then  8  times  with  the  right  and  left  foot  alter- 
nating. 

Exereises: 

Attention  (Feet  in  1st  Position). 

Extend  the  R.F.  to  2nd  Position  (1). 

Return  the  R.F.  to  1st  Position  (2). 

Repeat  (3)   (4) — 1  measure. 

Repeat  1  measure,  making  4  Extensions  to  2 
measures. 

Repeat  the  same  with  the  left  foot — 2  meas- 
ures. 

(4  Measures). 

Repeat  the  Extensions  to  the  side  with  the 
R.F.  and  L.F.  alternating.  For  example,  R.F.  to 
2nd  Position  (1),  return  to  1st  Posit io}i  (2).  Same 
with  the  L.F.  (3)  (4).  Continue  this  movement 
with  the  R.  and  L.F.  for  3  more  measures. 

Exercises: 

(4  Measures).  • 

Extensions  to   ////  Position  and  return  to  the  1st 
Position  same  number  of  times  as  first  exercise. 
Extensions  to  UJi  Bear  Posit io)i. 
Extensions   to   Intermediate  Position. 
Extensions  to  Intermediate  Bear  Position. 
Extensions  to  Crossed  Position. 


\  V 


62- 

Extensions  to  Crossed  Bear  Position. 
PCxloiisioiis  from  1st  Position  to  2ud  Heel  Position. 
Extensions  to    ////   IIccl  Position. 

Exercises: 

n.F.  in  3rd  Point  Position  (1). 
R.F.  to  L^d  Ileet  Position  ('2). 
Repeat  same  {'.->)   (4). 
Continue  for  another  measure. 
Repeat  same  with  Ij.F.  2  measures. 
Same  exercise   with  R.F.  and  J..F.  alternating  4 
measures. 

(8  Measures). 

Xote  I. — Comparing  this  movement  with  a  hiriguage,  it 
would  i)raetic'ally  be  a  word  of  two  letters;  a 
movement  consisting  of  2  positions.  In  the  3rd 
Point  Position  the  foot  that  is  pointed  is  extremely 
close  to  the  middle,  or  hollow  of  the  other  foot. 

Xote  II. — In  all  exercises  ending  with  the  feet  in  opeu 
position,  where  a  quick  change  follows,  so  that  the 
mo\emcnt  may  be  repeated  with  the  other  foot,  a 
spring  on  the  free  foot  is  necessary.  In  other  words, 
two  movements  are  taken  sinmltaneously. 

Exercises: 

From  the  4tli  Rear  Position  (1)  to  the  4tli  Heel  Po- 
sition (2). 
Repeat  (o)  (4).    Continue  another  measni'e. 
Repeat  all  with  L.F. — 2  measures. 
Then  light  and  left  foot  alternating — 4  measures. 

(8  MEAsntEs). 
Exercises: 

R.F.  in  -Jnd  /iinard  /'osilion  (  1 ). 

R.F.  in  :^nd  Heel  Position  (2). 

Repeat  (.1)   (4).     (^ontinue  another  measure. 

Re])eat   all  with  L.F. — 2  measures. 

'i'lieii  hM'\  and  L.F.  alternating — 4  mcasnres. 

(8  Mkasi-iiks). 

Exercises: 

R.F.  in  Jud  I iiiiard  Tosilion  (1). 
I?.F.  in  -'nd  I/rrJ  f'osifion   (2). 


63 

R.F.  in  Sn]  Po'uif  Positiou  (3). 

R.F.  in  :Jiid  Heel  Position  (4). 

Repeat  all  with  the  left  foot — 1  measure. 

Again  with  right  foot  1  measure  and  left  foot  1 
measure. 

Repeat  this  same  movement  by  hopping  on  the  sup- 
porting foot  previous  to  each  change  of  posi- 
tion of  the  active  or  free  foot.  Tliis  will  pro- 
duce a  lightness  that  becomes  a  dancing  step. 

This  combination  of  4  positions  is  compared  to  a 
word  of  4  letters. 

/.s  the  practice  of  the  Extensions  recouunended,  and 
ivhyf 

The  extensions  are  most  important,  as  they  give 
the  dancer  poise,  proper  placement  and  correct  appli- 
cation of  the  feet  in  all  directions.  They  teach  one  to 
lead  with  the  toe  on  the  Hoor. 

What  Ijenefif  is  futtlicr  derived  fro)n  tlte  practice 
of  the  Extensions!^ 

The  Extensions,  when  properly  performed,  will 
give  strength  to  the  ankles  and  will  arch  the  foot  prop- 
erly; incidentally  gi\ing  it  a  better  foim  and  ap])ear- 
ance.  Extensions  shoukl  be  practiced  diligently  every 
day. 

SIDE  PRACTICE. 

In  Side  Pi-actice,  or  Exercises  at  the  bar,  always 
begin  with  the  foot  farthest  from  the  wall  (inside  foot), 
and  whenever  the  exercise  is  to  be  repeated  with  the 
other  foot  it  is  necessary  in  order  to  obtain  the  same 
freedom,  to  make  a  half  turn,  as  we  say,  aljout  face. 
This  tiii'ii  is  made  toward  the  bar,  or,  in  other  words, 
if  the  right  side  is  towaitl  the  h;ir  at  the  begiiminu-  of 
the  exercise,  tlie  turn  will  l)e  toward  the  right,  or  right 
about  face,  and  if  the  left  side  is  toward  the  wall,  it  will 
be  )ust  the  i'e\-ei-se,  or  a  half  tni'ii  left.  Tiiniiiiu  in  this 
manner  can  be  done  so  quicklx'  that  thei'e  will  he  no  loss 
of  lime,  and  the  exercise  can  be  continued  with  the  other 
foot  nnintei'rnpted. 


()4 

PLIKIS,  OKPJJEK. 

11 '//(//  is  HI  cant  by  PUef 

Plic  is  the  technical  term  for  bending;  bending  the 
knees. 

Of  what  does  a  Plic  consist? 

Tt  consists  of  two  movements;  a  downward  bend 
and  a  rise.    It  is  the  preparatory  movement  of  a  spring. 

lloic  is  the  Plic  prupcrlij  prrformcdf 
The  Plie  is  performed  by  bending  the  knees  which 
must  ])e  exactly  over  the  toes  (extreme  Ballet  position) 
with  weight  of  body  distributed  equally  on  both 
feet.  The  upper  part  of  the  body  must  be  erect  and  re- 
laxed. 

Describe  a  Plic  in  tlu  Double  ')tli  Position. 

The  5th  Position  is  the  most  difficult  one  in  which 
to  perform  this  exercise,  in  consequence  of  the  narrow- 
ness of  the  base  on  wliicli  you  rest.  Stand  in  the 
Double  5tli  Position,  turn  the  toes  and  iiips  outward 
90°,  knees  directly  over  the  toes,  body  erect.  Bend 
tlie  knees  and  rise. 

Iloiv  many  Plies  are  t  lie  re? 

There  is  ijractically  only  one  Plie,  yet  exercises 
have  been  arranged  in  four  different  classes. 

1st,  Plies  on  the  soles  of  lioth  feet. 

2nd,  Plies  on  the  balls  or  Demi  Points  of  both  feet. 

3rd,  Plies  on  the  sole  of  one  foot  with  the  other 
foot  I'aised. 

4tli,  Plies  on  the  ball,  or  Demi  Point  of  one  foot 
wilh  tlie  other  i-aised. 

Are  the  Plies  done  in  all  the  positions.^ 
Yes,   the   Plies   arc   done   in    all    tlic   vai'ious   posi- 
tions, and  should  be  so  pi'acticed. 

]]'hicli  is  till'  best   iraif  to  practice  tJie  lilies? 

I'lirs  arc  generally  tlic  tirst  exercises  given  at  the 
bai'.  'V\u'  exti-eme  P)'allct  ])osition  must  be  used 
ihronuliout    ( I'cct  at  !)()    ).     The  free  arm  should  be  ex- 


65 

tended  to  tlie  side  (shoulder  hi.£>li).  During  the  bend 
the  arm  is  hjwered  to  the  front,  or  in  1st  Position,  and 
on  the  rise  extended  again  to  the  side. 

Alusic  4  4 — Gavotte. 

Flics  on  the  soles  of  both  feet.  In  all  these  exer- 
cises count  (1)  (2)  to  bend,  and  (3)  (4)  to  rise.  Exe- 
cute 4  times;  in  all,  (4  measures).  Then  make  quick 
Plies,  counting  (1)  to  bend  and  (2)  to  rise,  making  8 
Plies  in  all  (4  measures). 

Each  exercise  of  Plies  will  take  8  measures. 

Exercises : 

Flies  in  Double  tst  Position. 
Plies  in  Double  2nd  Position. 
Plies  in  Double  3rd  Position. 
Flies  in  Double  4tli  Position. 
Plies  in  Double  5th  P*ositio]i. 

Repeat  the  Plies  in  all  the  5th   Positions  on  the 
Demi  Points. 


PLIES  ON  THE  SOLE  OF  ONE  FOOT. 

Exercises  : 

Plies  on  the  foot  nearest  to  the  bar  with  the  other 
foot  raised  straight  in  front  (4tli  Raised  Posi- 
tion, ?iV(\  Elevation),  four  slow  Plies  (4  meas- 
ures), and  8  quick  one  (4  measures). 

(Note — During  the  Plies  on  the  one  foot  the  other 
foot  must  be  kept  raised  throughout.) 

About  face  aiirl  repeat  icifli  other  foot. 

Exercises: 

Plies  with  oilier  foot  raised  to  side,  heel  under  the 

foot. 
Plies  with  other  foot   raised  in  l)ack. 
Plies  on  the  one  foot   with    other    foot    swinging 

front  and  back. 
Bend  and  swing  foot  front   (1)    (2). 
Rise  and  swing  foot  back  (o)  (4). 
Repeat  in  all  4  times   (4  measures),  ilieii  8  limes 

very  fast  (4  measures). 
About  fa(c  ami  rcjical   witJi  oilier  foot. 


66 


PETIT  BATTEMENTS 

Small  beatings.  A  beating,  or  i'orcibU'  movement 
of  the  free  foot  against  the  snpporting  one,  which  re- 
mains stationary.  A  Petit  Battement  brings  into  ac- 
tion the  lower  leg  only,  the  knee  acting  as  a  hinge,  the 
foot  retnrning  to  the  sni)|)ortiiig  foot,  niilde,  calf  or 
knee. 

The  accent  is  not  on  the  up-beat,  or  the  extension, 
but  sharply  on  the  return  to  the  other  foot.  Petit  Bat- 
touoits  can  be  done  on  the  floor  or  from  the  ankle  of 
the  supporting  foot.  It  may  l)e  mentioned  that  a  Petit 
Battement  is  the  basic  step  of  the  Scotch  Dance.  When 
modified  so  as  to  allow  the  sole  of  the  active  foot  to 
touch  the  floor,  it  provides  the  shuffle  step  of  the  Irish 
Jig  and  Keels. 

In  irliat  direetion  can  the  Petit  Battemeiits  be 
made? 

Petit  Bettements  can  be  made  forward,  side  and  to 
rear.  The  latter  is  seldom  used  except  as  a  form  of 
exercise. 

}Muit  hcuept  is  derived  from  the  praetiee  of  the 
Petit  Battement 8^ 

They  give  brilliancy  and  freedom  of  movement, 
and  with  practice  can  be  executed  with  a  wonderful  de- 
gree of  speed. 

When   flic  Bdl fcmciif   />  done  on   the  a)ikte  of  the 
supportiiK)  f(>ot,  what  term  is  f/iven  to  tin   movement? 
This  is  called  Petit  Battement  siir  le  cou-de-pied. 

When  the  free  foot  crosses  front  and  had;  of  the 
ankle  of  the  supporti^ig  foot ,  what  is  this  eattcd.'' 

This  is  called  Petit  Battement  croisr  snr  Ic  cou-de- 
pied ;  a  crossing  of  the  foot  on  the  ankle  of  tiic  otlicr. 

]]'Jiat  is  tile  difference  between  an  Extension  and 
a  Petit  Battement? 

Extensions  and  Pelit  /iattennnts  arc  closely  re- 
hited;  the  onh'  diffei'cncc  is  in  tlic  acceiil.     The  E.rlen- 


67 

sions  are  taken  in  even  or  regular  time,  countino-  (1) 
to  extend  and  (2)  to  return.  Petit  Battemoit  is  counted 
thus:  Extend  on  the  up-beat,  or  (X),  and  return  on  the 
(1),  etc. 

Wlu'u  we  ,^)eak  of  Petit  Batlemeuts,  irhich  form 
do  ice  getieiaUy  meaiif 

We  mean  the  form  in  which  the  toe  of  the  free  foot 
does  not  leave  the  floor,  but  passes  over  it  quicklv  and 
lightly,  keeping  the  heel  well  elevated. 

How  many  classes  of  Battemeuts  are  theref 
There  are  three  classes,  Petit  Battemeuts,  or  small 

heatings;  Grand  Battemeuts,   or   large   beatmgs,   and 

Battement  Fouette. 

How  should  the  Petit  Battemeuts  he  practiced? 
First  at  the  bar  and  from  5th  Position. 

PETIT  BATTEMENTS. 

Side  practice: 

Music  4/4.  Count  (X)  (1).  Extend  on  (X),  re- 
turn (1). 

(Note — A  number  of  Petit  Battoueuis  shoukl  al- 
ways be  practiced  in  succession.) 

Exercise: 

Start  from  5th  Position.    Petil  Battcmcut  forward. 

Glide  7  times  forward,  always  returning  to  5th  Po- 
sition, then  extend  to  side  and  close  in  5th 
Pear  Position;  in  all,  '1  measures. 

Petit  Battemoits  to  side  (2iid  Position)  (X),  re- 
turn to  5th  Position  (I),  again  to  side  (X), 
and  ictuiii  to  5th  Hear  Position  (2).  Pepeat ; 
in  all,  2  measures. 

J'clil  JJafleiuciit  to  4tli  Hear  Position,  7  limes  and 
one  to  side;  close  in  5th  Position — 2  measures. 

Rei)eat  the  Petit  Battemeuts  to  side,  closing  5th 
Hear  and  5th  Position  (front),  tinishing  m  5tli 
Position — 2  measures. 

About  face  and  repeat    all    witii    other    foot  8 

measures. 


68 

PETIT  BATTKMKXT  STK  LE  rOF-DE-IMED. 

.V  lualiiii>'  (']!  the  ankle  of  the  siippoi  tiiii;'  foot. 
]\Mise  tlie  flee  foot  across  the  ankle  of  the  other, 
keei)iiiii'  the  knee  of  tlie  raised  leg  turned  to  the  side. 

Extend  the  fiee  foot  7  times  to  the  front,  returning 

to  the  ankie  of  suppoiting  foot  and  onee  to  the 

side,  closing  in  oth  Hear    Kaised    Position — '2 

measures. 
Extend  free  foot  to  side  2nd  Raised  Position,  1st 

Elevation,  closing  in  oth  Raised  P(;sition,  tst 

Elevation. 
Repeat  the  Extension  and  close  in  5tli  Rear  Raised 

Position,  1st  Elevation. 
Repeat  this  in  all  8  times- — 2  measures. 
Extend  to  4tli  Rear  Position,  1st  Elevation,  7  times 

and  once  to  the  side  and  close  in  front  5th 

Raised  Position,  1st  Elevation — 2  measures. 
Repeat  the  Petit  Battemcuts  sur  le  cou-dc-pii'd  to 

the  side,  again  closing  front  and  rear  of  other 

foot — 2  measures. 
About  face  and  repeat  with  other  foot. 

.     WJiat  l)enefit  is  derived  fro)ii   tJie  piactiee  of  the 
Petit  Battoneiits  sur  le  coii-de-piedf 

In  addition  to  all  the  bcnehts  derived  from  the 
Petit  Battemeuts,  the  practice  of  the  Petit  Battetiniits 
sur  le  cou-de-pied  would  bring  about  a  greater  degree 
of  accuracy  and  strength  to  the  aidvle,  arch  and  knee. 

PETIT  BATTEMEXT  CROISE  SER  LE  CX)U-DE- 

PIED. 

A  crossing  in  fr(. nl  and  in  hack  !»f  the  aiikh'  of  tiie 
sui)])oiting  foot  ;  known  as  Cross  Passes. 

Tiro  Cross  Passes. 
Exercise  J. 

Bring  the  i'lee  fool  in  fioiit  of  the  aiikh'  of  the 
other  (1);  l,i-ing  it  in  ha(  k  of  the  ankle  (X), 
then  exteiid  it  to  2nd  l»aised  Position,  2iid  Ele- 
vatic)!!  (2).  ■     ' 


69 


Repeat  in  all — 4:  measures. 
About  face  and  repeat  with  other  foot. 
Three  Cross  Passes. 

Exercise  2. 

^lake  three  crosses  to  the  one  count  or  quarter 
note;  triplets.    Cross  front  (1)  cross  back  (X), 
cross  front  (XX),  extend  to  side  as  before  {"!) . 
Repeat  in  all,  4  measures. 
A.bout  face  and  repeat  with  other  foot. 
Four  Cross  Passes. 

Exercise  3. 

Four  crosses  to  one-quarter  note  equivalent  to  six- 
teenth notes.  Cross  front  (I),  cross  back  (X), 
cross  front  (XX),  cross  back  (XXX),  extend 
to  side  (2).    Repeat  in  all,  4  measures. 

About  face  and  repeat  with  other  foot. 


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Albert   W.   Newman,   Ballet   Master. 


70 


ELEVE  OR  ELEVER 

( ail-nii/.) 

Risiiii>,'  on  the  toes  of  one  or  l)otli  feet  ;  dcsii^-ned  to 
develop  strength  of  the  toes,  arch,  ankle  and  the  calf 
of  the  leg. 

The  essential  exercise  for  everyone  who  aspires  to 
become  a  toe  dancer.  In  rising  on  the  toes  keep  the 
legs  rigid  and  straight,  sending  the  body  ni)  with  the 
strength  of  the  toes  and  ankles.  Do  }iot  jiniij)  o)t  the 
toes  and  (Jo  not  moke  the  movement  jertcij. 


Albert   W.    Newman. 


Wild  I  i.s  the  (Jiff  ric  nee  hcficccii  Lcrr  cf  I'Jlrr('F 
Lcvr  means    rais('(l;    p(  I'taiiiiiig   to   a    raised   foot 
(one  that  is  off  the  floor),  and  I-'Jcrr  means  to  rise  on 
the  points  or  demi  points. 

Each  of  the  following  exercises  shonld  be  per- 
formed 4  times  slowly,  coiiiiliiig  (1)  (2)  to  rise  and 
(3)  (4)  to  (lidp  or  Abaissr,  then  S  times  (piickly,  count- 
ing (1)  to  I'ise  and  (2)  to  dro|t,  etc. 


71 

In  all  these  exercises  the  free  arm  should  be 
brought  to  4th  Position  on  the  rise  and  lowered  to  3rd 
Ex.  Pos.  (shoulder  hig-h  on  the  side)  on  tlie  Ahalsse. 

Side  Practice. 

Music  4/4. 

Exercises: 

1.  Eleve  in  Double  1st  Position. 

2.  Eleve  in  Double  2nd  Position. 

3.  Eleve  in  Double  3rd  Position. 

4.  Eleve  in  Double  4th  Position. 

5.  Eleve  in  Double  5th  Position. 

Note — On  account  of  the  great  amount  of  strength 
necessary  to  perform  these  exercises,  it  is  advised  to 
take  only  two  or  three  at  a  time,  then  gradually  in- 
crease the  numl)er  as  the  student  becomes  stronger. 

Exercises: 

6.  Eleve  on  the  one  foot  with  the  other  raised  front 
(4th  Raised  Position,  2nd  Elevatio]i),  4  times  slowl}^, 
then  8  times  quickly. 

About  face,  etc. 

7.  Eleve  on  the  one  foot  with  the  other  foot  raised  to 
the  side  {2ud  Raised  Position,  2nd  Elevation). 

8.  Eleve  on  one  foot  with  other  raised  in  back  {4th 
Rear  Raised  Position,  2nd  Elevation). 

9.  Eleve  on  supporting  foot,  same  time  swing  or 
whip  the  free  foot  forward  {4th  Raised  Position,  3rd 
Elevation),  then  Ahaisse  on  supporting  foot  and  whip 
the  free  foot  l)ack,  {4th  Rear  Raised  Position,  Hrd  Ele- 
vation), passing  through  the  1st  Position. 


BODY  BENDING 

The  lieuding  of  the  ])ody  is  extremely  im]iortant  to 
graceful  movement  and  is  one  of  the  most  essential 
(pialities  of  the  dance.  The  practice  of  Bodif  Bending 
will  make  the  U))])(m-  ])art  of  the  l)ody  ])liable,  su])ple, 
elastic  and  adjustable  to  the  various  movements  of  the 
lower  exti-emities.     T  regret  to  sav  that   even    among 


72 

dancers  oi'  I'cjJiitt'  the  ui)i)er  ])ai1  of  the  body  does  not 
always  move  in  perfect  harmony  with  the  feet.  Th.is 
causes  the  (hmcer  to  a])i)('ar  unsteady,  uncertain  and 
iinbaUmeed. 

I>od>'  l;ends  should  al\\;i\s  l)e  inehided  in  the  (hiily 
routine  of  pi'aetiie,  and  nuist  he  done  from  the  waist 
line  entirely. 

Hold  the  bar  with  ht)th  hands,  and  i'aee  the  wall. 

Each  exercise  should  be  performed  8  times,  very 
slowly. 

Exercises: 

1.  Bend  l)ackward,  count  (5,  erect  (7)   (8). 

2.  Kend  backward,  count  4,  look  to  the  I'i^iit  (5), 
look  left  (G),  erect  (7)   (8). 

3.  Bend  forward  (1)  (12),  erect  {?>)  (4). 

4.  Bend  forward  (1)   (2),  liend  ))ackward  (3)   (4). 

5.  Bend  toward  the  ri^ht  side  (1)  (2),  erect  (3) 
(4). 

Kci)eat  to  left  side 1  Measure. 

6.  i>end  to  riuht  si(U"  (1)  (2),  l;end  to  left  si.le  (3) 
(4). 

Botai  1/  Motion. 

Bend  foi-wai  d  and  iiio\-e  body  to  ri,i;iit  side  (  1  )  (2), 
move  backward  or  to  real'  (.'1)  (4),  nioNi-  to  left  side 
(  1  )   (2),  move  forward  C',)  (4). 

Keej)  tin'  bo(l\'  bent  thi'ouuhout  the  above  exercise. 

Bod//  Tirisi, 

The  hips  are  held  jx'rfectly  stiai.i^ht  and  ))arallel 
with  the  bar,  while  the  upjx'r  j)ait  of  the  ))ody  is  turned 
oi-  twisted  at   1  lie  waist. 

Exercise : 

Twist  l)ody  to  ri.uiit,  brin.nin.i;'  the  Idt  shouldei' 
directly  in  front  (1)  (2)  (:'.).  Taee  and  tui-n  fiont  (4). 
Repeat  to  left I   Measui'e. 

Twist  body  to  ri-iil   (1)   (2),  to  the  left   (3)   (4). 


73 

Head  iUove)Hri/f. 

Adjusting  tlie  head  in  dancing   is  all  important. 
A  profile  or  semi-profile  position  is  preferable  to  one 

facing  front. 

Exercises:  Repeat  each  8  times. 

L   Lower  head  (look  at  tioor),  raise  head  (look  at 
ceiling). 

2.  Turn  head  to  right  and  to  left   (looking  over 
shoulder). 

3.  Bend  head  down  to  right  and  to  left  (as  if  lying 
on  a   ])illow). 

Rotary  Motion. 

Bend  (h)ok  to  flooi-)  — (1),  look  to  right  {'!),  look 
to  ceiling  (3),  to  left  wall  (4).     Repeat,  etc. 


Toja  Brodanova,  Russian  Imperial  Ballet. 


ARMS 

The  action  of  llic  arms  differs  from  the  inoveiiieut 
of  the  lei»'s,  in  that  the  hitter  act  as  a  support  to  the 
body  while  the  arms  are  given  greater  t*reeth)m. 

The  play  of  the  arms  is  a  part  that  requires  the 
greatest  delicacy,  and  is  the  most  difficult  to  acquire. 

All  movements  begin  at  the  shoulder  and  flow  down 
to  the  hand.  Inversely  they  begin  with  the  hand  and 
terminate  at  the  shoulder. 

The  difference  between  the  arm  movements  of  the 
Greek  Dance  and  those  of  the  French  Ballet  is  very 
pronounced.  In  the  latter  the  movements  are  limited 
to  certain  conventional  forms  which  have  little  in- 
tellectual expression,  but  the  (J reeks  were  more  dra- 
matic, and  gave  greater  mimetic  value  to  their  move- 
ments, thus  making  them  more  varied  and  less  arti- 
ficial. 

Tlie  Autlior  has  elaborated  extensively  upon  the 
Zorn  System  of  Aim  Movements  ])artly  tiirougli  a  i)er- 
sonal  request;  but  mainly  through  the  desire  to  give 
to  the  student  a  system  that  would  be  practical  with 
every  form  of  Dancing,  ])ai  ticularly  Interpi'etative 
work. 

The  ungraceful  awkward  arm  action  exhibited  by 
so  many  public  performers  is  attributed  to  the  various 
incomplete  systems  of  our  schools;  however,  it  is  very 
gratifying  to  note  that  since  the  revival  of  the  Greek 
Dance,  with  its  profusion  of  graceful  arm  movements, 
of  which  ]\Iaud  Allen  is  such  a  wonderful  exponent,  the 
l^remiere  Danseuse  is  making  a  closer  stndy  of  this 
important  branch  of  the  Art. 

This  is  very  apparent  witii  the  K'nssians,  who  are 
now  using  arm  movements  lliat  wcic  ih  ver  known  to 
the  French  Ballet.  Moi'dkin  sa>  s,  'A'on  can  readily 
tell  a  medioci-c  dancer  by  the  arm  inoN'cincnts." 

W  hdl  is  iiKdi/l  1)1/  /'(I if  (Ic  /I Ids? 
Arm    moNcmcnts    or    the    proper    cari'iage    of    the 
arms. 


YO 

Give  three  reasons  ivhy  we  use  the  arms  hi  classic 
dancing. 

We  use  the  arms,  first — to  give  perfect  balance, 
second — to  make  the  dance  more  graceful,  tJiird — to 
express  an  emotion. 

How  many  arm  positions  are  there,  accordintj  to 
the  Newman  Systemf 

There  are  5  Naturid  Positions. 

5  Extended  or  Amplified. 
5  Demi-Extended. 

What  is  the  difference  between  the  Xafural  and 
Extended  Positio)isf 

The  Natural  Positions  are  rounded  positions;  posi- 
tions with  the  arms  curved. 

The  Extended  Positions  are  those  ^\dth  the  arms 
stretched  or  amplified,  and  are  generally  held  to  the 
side. 

Note — The  word  Natural,  in  connection  with  arm 
positions,  is  omitted  in  writing  these  positions.  It  is 
generally  understood  that  the  arms  are  curved  or  in 
Natural  Position  unless  they  are  otherwise  to  be  placed, 
then  the  words  Extended  or  Demi-Extended  are  used. 

lT7m^  is  the  difference  between  Extended  and 
Doni  Extended  Positions? 

The  Demi-Extended  positions  are  just  slightly 
curved,  while  the  Extended  ones  are  straight. 

Are  there  other  than  the  five  Natural,  five  Ex- 
tended and  fire  Demi-Extended  Positionsf  Wltat  are 
they  called? 

Yes,  tile  M()difieati(n)s  and    l^ariafioiis. 

l]li<i/  (ire  Modi fi((if ions  ai/d  Wuiaiions? 

Modifications  are  poses,  each  one  consisting  of  two 
different  positions.  They  are  designated  by  certain 
names  such  as  Attitude,  Arabesque,  Grecque  Pose,  Lat- 
eral Position  and  Spanish  Pose. 


7(j 

]'ariafioii,s  art'  lliosu  positions  assumed  by  the 
liaiuls  in  character  poses  as — hands  at  hips  {Aki)uho), 
aims  folded,  etc. 

lloir  do  ICC  locate  tlic  <ii'ni  pos'ttious? 
Accoidini;'  to  heii;lit  and  elevation. 

Note — The  comljined  methods  of  the  (ireek  and 
the  French  are  embodied  in  the  Ncianau  Si/sfcni  of 
Daiiriiif/,  therefore  conventionalities  have  been  set 
aside,  and  practically  every  arm  movement  which  is 
used  in  Dancing,  Pantomime  and  Gesticulation  will  re- 
ceive a  prominent  place  in  this  woik. 

It  is  absurd  to  say  that  only  a  limited  iminl)ei'  of 
movements  are  to  be  used.  Of  late  yt-ars  the  in- 
dividuality of  the  Dancer  has  chan!ti,ed  all  this.  The 
Interpretative  or  Greek  Dancing  has  entered  into  the 
French  Ballet,  thus  combining  execution  mth  ex- 
])ression.  The  execution  of  the  French  Ballet,  with  its 
technical  difficulties,  and  the  Ex])ression  of  the  Greek 
Dance  constitute  the  very  soul  of  the  Art,  the  two 
essential  elements  of  the  Dance. 

Into  Jioic  iiiaiii/  pacts  is  flic  acni  dici/Jrd.'^ 
Both  Klem  and  7jOVu  have  divided  the  arm  into  "> 
})ai'ts — Upper  Arm,  EUxnv,  Forearm,  Wrist  and  Hand. 

Reference  is  Jnre  inade  to  pnr/es  S3,  S4,  85,  for  a 
review  of  raliiohJe  iufornnitioii   refpirdi Uf/  the  (irnis. 

PORT  DF  P,RAS. 

In  foiniulatiiig  the  various  positions  numerically 
tin  re  exists  a  difference  of  opinion  among  the  various 
systems  in  regard  to  certain  ])ositions.  Tlie  Xewman 
System  of  Aim  Positions  is  based  upon  a  coi'i'ect 
mathematical  roundation  and  the  positions  are  num- 
bered according  to  the  height  in  which  ihc  arms  ai'e 
I'aised.  This  idea  lirst  found  taxoi'  with  Ihe  great 
Master,  Pi-ofessor  Friedrick  Albeit  Zorn,  of  the  Ini 
perial  K'ussian  l^ichelieu-(}yninasium,  ( )dessa,  from 
whom  the  Author  received  jx-rsonal  instruction  in 
1894. 


77 

A  perpendicular  hanging  position  is  the  1st  Posi- 
tion, and  a  perpendicuhir  raised  position  is  the  5th 
Position.  The  3rd  Position  is  just  midway  between 
the  1st  and  5th  Positions;  the  2nd  Position  between  tlie 
1st  and  3rd,  and  the  Itli  between  the  3rd  and  5th  Posi- 
tions. 

All  of  the  following  five  (Natural)  positions  are 
curved. 

1st  Position  {Bras  Bas)  :  Arms  held  down  in  front 
of  liody  and  curved  in,  palms  turned  toward  each  other. 

2nd  Position  {Demi  Bras)  :  Arms  held  waist-high. 

Srd  Position:  Arms  held  shoulder  high  and  in 
front. 

4th  Position  :  Arms  held  high  or  slightly  above 
and  to  the  side  of  the  head  a  U  formation. 

5th  Position-  {Double  Bras)  :  Arms  held  above  the 
head,  fingers  almost  touching;  an  0  position. 

How  are  the  Extended  Positions  located?  De- 
scribe them. 

Extended  Positions  (Abbreviation — Ex.  Pos.)  are 
those  extended  to  the  side  and  are  located  according 
to  the  degree  of  elevation;  the  same  as  the  Natural 
Positions,   except    they   are   held   perfectly   straight. 

1st  Ex.  Pos.:  Arms  held  down  and  to  the  side 
close  to  body. 

2nd  Ex.  Pos.:  Arms  held  to  the  side  waist  high. 

3rd  Ex.  Pos.:  Arms  held  to  the  side  shoulder  high. 
Palms  held  downwai'd  (not  showing). 

4th  Ex.  Pos.:     In  V  formation    (appeal). 

5tli  Ex.  Pos.:  Aims  held  high  above  tiic  head, 
pa^ms  together.  This  is  a  diving  ])osi'  and  sehhun  usimI 
in  dancing. 

Note — The  4th  Ex.  i\)s.  is  a  very  important  one, 
as  it  is  the  turning  point  of  the  hand.  Jn  raising  tlie 
aim  outside,  to  the  5th  Position,  the  palms  arc  held 
downward  until  they  reach  the  4th  Ex.  Position,  then 
thev  are  turned  inward  or  raliu'r  townid  each  other. 


78 

In  raising  the  arms  inside  to  4tli  Position,  the  pahns 
are  hekl  toward  each  other,  and  when  retuiniiii;-  (h)wn, 
outside,  to  1st  Position,  the  palms  are  turned  outward 
and  downward,  as  they  i)ass  the  4th  Ex.  Position. 

NcuHc  (111(1  (/escribe  Uie  )no(Hfi<-(l  (inn  jxtsltlous^  or 
Modip'cdtioiis. 

Attitude — One  hand  in  4tli  Position,  other  in  ord 
Extended  Position. 

Arahescjue — One  hand  in  4tli  Demi-Ex.  Pos.,  and 
the  other  in  2nd  Demi-Ex.  Pos.,  both  palms  turned 
downward. 

Lateral — Both  hands  directed  to  the  side,  shoulder 
high;  the  one  arm  crossing  the  l)ody  shoulder  high, 
and  both  palms  downward. 

Lateral  II if/Ji — l*oth  hands  directed  to  the  side,  and 
held  high. 

Lateral  Lok — Both  hands  directed  to  the  side  and 
held  low\ 

Grec(jiie  Pose — One  Arm  in  4th  Pos.,  and  the  other 
in  2nd  Pos.,  arms  in  S  formation,  as  if  pouring  water 
into  the  goblet. 

Spanish  Pose — One  arm  in  4tli  Pos.,  the  other  in 
2nd  Ex.  Pos. 

Are  otiier  names  f/iren  fo  the  Lateral  and  tlie  .')th 
Posit'iousf 

Yes — the  Lateral  Position  is  often  called  Croise, 
as  one  arm  is  placed  across  the  body.  The  5tli  Posi- 
tion is  often  called  Couroune  (ci'own)  or  Doable  Bras. 
Demi  Couroune  means  that  one  hand  only  is  placed  in 
o\h   Pos. 

Hotv  do  the  arms  more  in  (/dnf/  into  the  rarioas 
posit  ions  f 

The  arms  move  up  in  front  of  the  l)ody,  ]ndms  in- 
ward and  down  outside,  thus  describing  a  complete 
circle. 


79 

In  raising"  the  arms  ontward,  the  palms  are  turned 
down. 

Note :  There  is  one  exception  to  this  rule :  The 
NewTnan  System  claims  that  as  the  4th  and  5th  Posi- 
tions are  so  closely  related,  it  would  be  well  to  make 
a  distinction  in  the  manner  of  getting  into  or  reaching 
them. 

Therefore,  in  the  5tli  Position,  the  hands  move  up 
outside  and  down  inside,  instead  of  the  reverse,  as  in 
the  4th  Position.  In  taking  all  the  Extended  Positions, 
the  movements  are  practically  the  same;  moving  from 
oneself  outward,  or  as  the  French  Master  says  "From 
yourself  out." 

What  is  meant  by  inside  and  outside,  in  reference 
to  movinfi  the  arms? 

Inside  means  to  the  front  and  within  the  outer 
line  of  the  body. 

Outside  means  to  the  side  or  outside  of  the  body. 

Give  a  few  CJiaracter  Poses,  or  variations,  accord- 
inrj  to  the  Newman  System. 

Akimbo — Outside  of  hands  i)laced  ui)oii  the  hips. 

Egyptian  Pose — Hands  in  l)ack  of  head. 

Scotch  Post — One  hand  in  4th  Pos.,  the  other 
akimbo. 

Ilunf/arian  Pose — One  hand  in  back  of  neck,  the 
other  akinilx). 

Eii(/Iis]i   Pose — Amis   folded;   shoulder   high. 

French  Pose — Index  fingev  uiuU  v  chin,  other  hand 
2nd  Ex.  Pos.  (co(|uctte  courtesy). 

Cotoniat  Pose — Arms  in  L'lid  I^os.,  extended,  as  in 
salutation  or  reverence. 

American  Pose.- — Sighting;  one  hand  o\er  and 
above  eyes,  olhei-  hand  "Jiid   \\\.   Pos. 


80 

Hoforo  l)e,uiHirni,u'  \\\v  ])r;icti('('  of  Arm  Morcincufs, 
the  shoulder  niiisl  he  iiiadc  plialilc,  as  tlir  siiouhh-r  is 
the  seat  ol"  physical  power,  froin  whieii  ueiierates  all 
arm   action. 

SHOULDER  MOVEMENTS. 

('('litre  Practice.  Pii/iils  ttih'c  positions  airai/  from 
tile  Bar;  aims  liaiif/iiKi  at  the  side. 

Exercises: 

1.  Move  1  ii^'ht  shoulder  ii])  and  down  4  times;  left 
shoulder  4-  times;  both  u])  and  down  S  limes. 

2.  One  slunilder  ii})  and  the  other  down. 

3.  ]\Iove  right  shouldei'  to  the  froid  and  then  back; 
same  with  left,  8  times  in  all,  then  both  shoulders  8 
times. 

Shoulder  Circles. 

Move  right  shoulder  iu  circle  8  times. 
Move  left  shoulder  in  circle  S  times. 
Alove   both    sliouldos   in   circle  S   times. 

WKMST  EXEKMMSES. 

The  wiist  should  be  made  pliable  as  all  graceful 
arm  movements  depend  upon  a  flexible  wiist. 

Thi'ouuliont  all  the  Wrist  Exercises  the  arms  are 
Jield  in  .'h'd  l^x.  IN  is.  The  forearm  must  I'emaiu  sta- 
tionai'}';  pahns  held  (h)\vn\vard. 

Exercises: 

1.  Mo\('  hands  up  and  down,  l;ending  at  the  wrist 
only. 

2.  ^[ove  hands  iu  semi-cii'cle  (do  not  show  palms). 
.').   Mo\'e  hands  in  cii'ch'. 

4.  Mo\"e  hands  in  a  (lunre  S. 

Xote-  Do  each  cNei'cise  4  tinu's  slowly,  then  8 
times  rai)id!y. 


81 

et;bow  develop:\iexts. 

Exercises:  Forward  Circles. 

Hold  arms  shoulder  high  well  r(niiule(l,  in  i'ront  of 
body  and  move  them  in  circles  toward  each  other. 

Loiv  Circles. 

Hold  arms  low,  moving'  them  in  circles  toward  each 
other,  as  in  grindiiig  an  organ. 

///////    Circles. 

Arms  in  3rd  Ex.  Pos.  moving*  them  up  in  cir- 
cles toward  each  other.  This  is  called  Mermaid  Move- 
ment  (spreading  the  hair  on  the  shoulders). 

Measuritifj  Ribbon . 

Start  with  one  hand  in  4th  Ex.  Pos.,  the  other 
in  2nd  Ex.  Pos.  Bring  tix)s  of  fingers  toward  each 
other,  then  draw  them  apart  gracefully  into  the  posi- 
tions mentioned. 

Reverse  the  position  of  the  hands. 


Marie  Irene   Kolb,  "Pas  de  Fleur." 


82 


INTERPRETATIVE  ARM  MOVEMENTS 

The  t'ollowiiiii'  exeroisi's  aic  patterned  after  the 
arm  moveiiieiits  emi)h)ye(l  by  Huth  St.  Denis  and  are 
all  done  with  the  arms  raised  at  the  side,  shoulder 
high.  From  the  Bntterlly  movement  to  tlie  Snake  move- 
ment, the  arms  must  be  i)lial)le,  supple,  and  graeeful, 
thereby  ])rodueing  a  soft,  undulating  effect. 

All  the  exercises  should  be  done  slowl_\-  at  lirst, 
then  in  double-quick  time.  The  palms  should  be  turned 
downward  and  not  seen  by  the  spectator. 

The  Duihrjlii. 

Arms  to  re])res(  nt  the  wings  of  the  Butterfly. 
Raise  arms  to  the  side,  above  the  head,  then  bring  them 
down.  The  movement  should  be  made  extrenu'Iy  light 
with  a  flexed  wrist,  keei)ing  the  X3alms  turned  downward 
and  outward. 

Tlir  Fliiticr. 

The  Buttei  lly  in  the  act  of  alighting.  Arms  held 
to  side  shoulder  high  (."hd  Kx.  Pos.)  throughout. 
Palms  held  downward.  Imitate  the  flutter  l)y  an  ir- 
regular pressing  movement  of  the  entire  aim. 

The  Sivmi. 

To  represent  two  Swans  eating.  Ixeach  out  the. 
arms  shoulder  high,  draw  the  hand  back,  l)eiiding  it 
at  the  wrist,  toward  tiie  shoulder.  The  hand  should 
take  the  foini  of  a  Swan's  head. 

The  Wheels. 

Arms  in  Ih'd  Kx.  Pos.  (Should(  r  iliuh). 

Imagine  a  wheel  at  the  wrist  and  a  wheel  at  the  el- 
bow, the  forearm  ading  as  a  ])iston  lod.  Tiu'  wheels 
are  turned  toward  the  body,  kee])ing  tin  palnis  turned 
down. 

77/ r  ]]'(irrs. 

A  decided  dashing  movenn  nt  of  the  aims,  shoulder 
high,  like  waves  dashing  ;»gaiiis1  the  rocks,  nfter  which 
the  hands  jtiact ically  i(  bound  1t)\\ai'(l  the  shonldci'. 

This  movement   should  lie  done  with  ureat   force. 


83 

Tlx'  snake. 

Arms  held  shoulder  hi,i>h  and  by  a  bending  at  the 
wrist  and  elbow,  with  a  slight  rise  and  fall  of  the 
shoulder,  a  snake-like  movement  is  produced.  (This 
should  be  very  light.) 

All  the  exercises  should  be  performed  before  the 
mirror  in  order  to  bring  forth  an  exact  imitation. 

PORT  I)E  BRAS  EXERCISES. 

Abbreviations. — R.  A.,  right  arm;  L.  A.,  left  arm. 
Each  exercise  should  be  performed  4  times  to  4 
measures,  then  8  times  to  4  measures. 

Exercises: 

1.  Arm  from  1st  Pos.  to  8rd  Pos.,  (up  inside)  (1) 
(2).  Turn  hands  down  and  outward  (3),  and  lower 
them  (outside)  to  1st  Pos.,  (4). 

Note:  The  turning  of  the  hands  in  coming  to  1st 
Pos.  follows  the  lines  of  the  American  Shield,  (fes- 
tooning). 

When  this  exercise  is  repeated  quickly  the  hands 
remain  stationary  as  a  quick  turning  of  the  hands  would 
not  be  consistent  here. 

2.  From  1st  Pos.,  to  3rd  Ex.  Pos.  (1)  (2).  Turn 
hands,  palms  outward  (3),  then  bring  them  down  to 
1st  Pos.  (4). 

3.  From  1st  Pos.  to  4th  Pos.  (1)  (2).  Turn  hands 
(palms)  outward  (3),  down  outside  to  1st  Pos.  (4). 

4.  From  1st  Pos.  to  -Ith  Pos.  (up  outside),  (1)  (2), 
dowu  insi(h-  to  1st  Pos.  (3)   (4). 

From  1st  Pos.  to  Attitude  (R.  A.  in  4th  Pos.,  L. 

A.  ill  3rd  Ex.  Pos.),  (1)  (2)  down  (outsi(k')  to  1st 
Pos.  (.'))  (4).  He\-('rse  the  iiiovenu'iit.  Both  liaiids 
must    r('a(  li   tlic  i)ositi(»ii   at    tlu    same  time. 

Note:  111  positions  wlicic  one  hand  has  a  greater 
distance  to  uo  than  the  other,  it  must  move  faster,  so 
that  l)oth  haiuls  reach  the  ])ositioii  at  the  same  time. 


84 

Ficm  1st  Pos,  move  u\)  (nitside  to  Ayuhcsque  (R. 
A.  ill  4tli  i>cnii  Kx.  Pos.,  L.  A.  in  2ii(l  Demi  P]x.  Pes.), 

(1)   ('J),  iii()\-c  down  outside  lo  1st   I'os.,  (:>)   (4). 

FoiirfJi  (iii'l  Foiii  III. 

Vvvy  ottt'ii  both  hands  inovc  into  tlu'  s.une  position 
one  I'ollowiiii;'  the  other,  as  in  this  niovenicnt.  This  we 
term  Foiitih  and  Foitrlli. 

K.  A.  moves  \\\)  inside  to  4tli  Pos.,  (1)  ('i^),  and  as 
it  comes  down  to  1st  Pos.,  (."))  (4),  the  L.  A.  moves  np 
to  4th  Pos.,  etc. 

Rotary  Motion. 

li.  A.  up  inside  to  4th  Pos.,  (1)  (2),  and  as  it  re- 
turns to  1st  Pos.,  the  L.  A.  is  raised  outside  to  5th  Pes., 
(.'))  (4),  etc.  This  movement  is  used  in  S])anish  Dances 
with  the  corresponding  Body  Alovements, 

LotciaJ. 

Arms  directed  to  the  right  side  (shoulder  high), 
(one  aim  crosses  in  front  of  the  body)  (1 )  (2).  Return 
to  the  1st  Pos.,  (o)   (4).     Reverse  the  movement. 

Lateral  JHf/h. 

Anns  to  the  right  side  held  higji  (1)  (2).  Return 
to  tlic  1st    Pos.,   (:\)    (4).      Pcpcat   to  the  left  side,  etc. 

Ldlcral  Low. 

Arms  to  the  right  side  held  down  low  (1)  (2). 
i^etuin  to  the  1st  Pos.,  {'A)  (4).    Repeat  to  the  left  side. 

Cir('c<iii('  Posr. 

U.  A.  in  4tli  Pos.  and  L.  A.  in  2nd  Pos.,  (1)  (2). 
iietnin  lo   1st    l*os.,   (,'!)    (4).  li*evei-se. 

SjjOI/lsli    /'ns(\ 

_P.  A.  in  4th  Pos.,  L.  A.  in  2n(l  Demi   Iv\.  l*os.,  (1) 
(2).     Pelnin  to  1st,  (."I)  (4).     K'everse. 


85 


/Side  Balauce. 

Going  from  one  Grecque  Pose  cliiectly  into  tlie 
other,  moving  the  hands  from  side  to  side,  produces  a 
Balance  movement,  and  is  termed  Side  Balcmce. 

Fonrard  and  Udckirofd  Movement. 

Going  from  the  Lateral  Low  Pos.  on  the  one  side 
direct  to  the  Lateral  Low  Pos.  on  the  other,  bringing 
the  hands  across  and  in  front  of  the  body,  is  the  For- 
ward and  Bacliward  Balance,  often  used  to  accompany 
the  Waltc  or  Pas  de  Basquf\ 

Practice  exercises  that  take  in  all  the  Five  Ex- 
tended Positions  ahvavs  returning  to  1st  Position. 


Gemme   d'Auria,   Annapolis,   "Pipes   of   Pan." 


86 


GRANDS  BATTEMENTS 

( (IrdinJ  Baht-iiialni) 

A  beating  movt'inoiit.  VnA\\  k\ns  arc  kc])!  riu'ul  and 
strai.^lit,  while  one  is  raised  to  4tli  Klevatiou  or  liiglier; 
tlien  lowered  against  the  other.  The  raised  movement 
comes  on  (X)  unaccented,  and  the  return  to  the  lloor  is 
forcible  and  accented,  coming  on  (1 ). 

Grands  Battcmeuts  can  be  performed  in  any  direc- 
tion, to  all  the  raised  positions  at  various  heights,  but 
only  in  daily  practice  is  the  foot  raised  higher  than  tiie 
■waistline,  or  3rd  Elevation. 

n  hdf  jthi/slcdl  JxiK'lif  is  (h'tircd  from  the  jnacficc 
of  tile  (iraiids  h'df 1 1  incuts/ 

They  will  ijroduce  wonderl'ul  strength  and  control, 
particularly  of  the  hip  and  thigh  muscles. 

I>egin  all  the  exercises  fi-om  tJie  oth  l^)sition,  hold- 
ing tile  bar  with  one  hand,  the  other  placed  in  Ih'd  Ex. 
Pes. 

Perform  each  exercise  8  times  with  one  foot,  then 
about  face  and  8  times  with  the  other  foot,  counting 
(X)  to  raise  the  leg,  (1)  to  lower  il,  resting'  (H).  Re- 
peat  (X)    CD   (4). 

SIDE  i'h'ACTH'E  (at  the  hai-), 
GRAXDS  BATTEMEXTS  DK\  AXT  (in  IVont). 

Erom  5th  Pos.  to  4th  Raised  Pos.,  4th  Elevation, 

I'ctui'Ji  to  otli  P(<sit ion. 


GRANDS  BATTEMENT8  DE  COTE  (to  side) 

From  5tli  Position  to  2nd  Raised  Position,  -l-tli  Ele- 
vation, return  to  5th  Rear  Position,  then  a.^ain  to  2nd 
Raised  Position,  returnin.u'  to  5th  Position  (front). 

GRAND  BATTEMENTS  DERRIERE  (behind). 

From  5th  Rear  Position  to  4th  Rear  Raised  Posi- 
tion, 4th  Elevation,  return  to  5th  Rear  Position. 

In  all  the  Grand  Baitements  where  the  leg  is  raised 
in  back,  start  from  the  5th  Rear  Position. 

Exercises: 

1.  Grand  Battements  to  Intermediate  Raised 

Pos. 

2.  Grand  B'attements  to    Rear    Intermediate 

Raised  Pos. 

3.  Grand  Battements  to  Crossed  Raised  Posi- 

tion (Croise). 

4.  Grand  Battements  to  Crossed  Rear  Raised 

Pos. 

GRAND  BATTEMENTS  FOUETTE. 

(Grand  Balii-niahn  foo-eff-aij) 

A  whipping  movement  with  a  straight  leg,  com- 
bining a  Grand  Battement  in  Crossed  Raised  Position 
(1),  through  the  1st  Position  (en  premiere)  and  into 
Intermediate  Rear  Raised  Position  (2).  It  is  prac- 
tically a  i)endulum  movement  of  the  leg,  passing  al- 
ways through  1st  Pos.,  keei)ing  the  leg  perfectly 
sti'aight  and  stiff. 

Folhiwing  is  a  very  pretty  combination  in  which 
the  Grand  Batfcnienf  Foticffe  is  employed:  Grand  Bat- 
temeiif  Fouette  (1)  (2),  then  bring  the  free  foot  to  the 
knee  of  the  supporting  leg  (3),  the  free  knee  well  turned 
to  the  side,  after  which  extend  the  foot  to  the  In- 
termediate Raised  Position,  ."bd  Elevation,  leg  per- 
fectly straight   (4),  return  to  Moor  (N)  (1st  Pos.'). 

Note — This  exercise  can  be  used  as  a  very  effec- 
tive dancing  step  by  hojjping  on  the  su])porting  foot  be- 
fore each  change  of  the  position  of  the  free  foot. 


88 


RELEVE 

Rclcrc  is  a  rise  on  the  hall  or  i)()iiit  of  the  sui)i)()rt- 
iiii>'  foot,  while  the  active  I'oot  is  raised  to  the  heii>ht  of 
the  knee  and  dose  to  tlie  sni)])oi  ting  leg. 

It  ean  also  l)e  dehiied  as  a  ilcrcJoppv  whilst  rising 
on  the  toe  or  (h'ini-i;ointe  of  the  sni)])orting  leg.  lieleve 
can  be  performed  ilcnn/f  (frinit),  tJccntr  (side)  and 
derrierc    (rear). 

The  following  exercises  lia\'e  l)een  especially  ar- 
ranged by  combining  the  I'lir,  Dcvdoppc  and  Eleue. 

p]acli  exercise  is  performed  4  times  slowly,  each  to 
four  counts,  or  one  measure,  then  S  times  (juickly  to  2 
counts,  first  with  one  foot,  then  turn  a])out  faee  and  re- 
peat with  the  other  foot. 

The  free  arm  should  be  raised  to  4th  Pos.  on  the 
Elm'c,  and  lowered  1st  Pos.  on  the  /V/V, 

In  the  Hcleve  drraiit  the  free  foot  is  l)i ought  in 
front  of  the  knee  of  the  sui)porting  leg. 

In  the  Eclerc  dc  rofr  the  free  foot  is  brought  in 
front  of  the  knee;  on  the  next  one  it  is  lirought  in  back. 

In  the  RcU've  dfrrihc  the  free  foot  is  l)r(;ught  in 
back  of  the  other  knee. 

REPEVE  DEVAXT. 

Plir  on  sole  of  supp<trtiiig  foot  and  ])oiiit  the  free 
foot  to  4tli  Position  (  1  ). 

Eire'  on  su})poiting  foot  and  bi'ing  free  foot  to 
other  knee  (2),  extend  free  foot  to  4tli  Raised  Position, 
■>rd  Elevation,  retaining  the  position  on  the  toes  of  the 
£U])poiling  foot  {'.]).  Hold  position  on  (4).  K'epeat, 
etc. 

in':Li<:\'p  dp  cut  p. 

Repent  ilih  tr  dc  coir,  bringing  the  fi'ee  foot  i" 
f  I  onl  anil  in  hacl\'  of  the  knee. 


89 

RELEVE  DERRIERE. 
Repeat,  pointing  free  foot  to  4tli  Rear  Position. 

A  very  interesting  exercise  is  a  Releve  dcvaiit  and 
Releve  derriere.  It  may  be  termed  Releve  passe,  as  the 
free  foot  passes  the  supporting  leg. 

Point  free  foot  to  4th  Pos.  witli  Plie  (1),  Eleve  and 
draw  the  free  foot  to  knee  (2),  cioss  pass  to  rear  of 
supporting  knee  (X),  extend  free  foot  to  ith  Rear  Pos, 
with  Plie.  (3),  Eleve  and  draw  free  foot  to  the  rear  ot 
other  knee.  (4),  Cross  Pass  to  front  of  supporting 
knee  (X).    Repeat,  etc. 


DEVELOPPE 

(Daij-rel-lu-pirj) 


Developpe  means  to  unfold  or  straighten  out  a 
bent  leg.  It  can  also  be  referred  to  as  a  muscle  devel- 
oping movement,  particularly  for  the  thigh  muscles. 
It  is  a  very  valuable  exercise  for  the  correct  placement 
of  the  dancer,  and  enables  him  to  hold  and  sustain  the 
leg  at  any  height.  It  is  the  opening  movement  of  many 
a  dance,  and  can  be  most  effectively  performed  by  the 
Premiere  Danseuse  in  Adage  de  Pas  de  deux  while  she 
is  being  supported  by  her  partner  (the  danseur). 

Developpe  is  a  temps  and  can  be  done  forward,  to 
the  side  and  to  the  I'ear. 

General  Directions. — Begin  from  the  5th  Position, 
raising  the  free  foot  to  the  knee  of  the  supporting  leg, 
the  raised  knee  held  directly  to  the  side;  then  extend 
the  foot  to  ord  Ek'xation,  but  before  doing  s(^  raise  the 
knee  a  little  higher  and  the  ])liysicnl  woi'th  of  this  sug- 
gestion will  soon  l)e  noticed.  The  sui)])orting  leg  nuist 
remain  sti'aight.  Arm  moves  to  .'lid  Ex.  I\)s.  as  the  leg 
is  extended,  returning  to  1st  Pos.  as  free  foot  is  l)rought 
to  5tli  Pos.  A  Dereloppr  suggests  the  idea  of  stei)ping 
over  a  square  box,  while  the  Ballonne  would  be  over  a 
large  ball. 


90 

BEVKLOin^r:  DKVAXT  (in  front). 

Four  slow  ones,  each  to  4  counts  or  one  measure, 
then  8  quick  ones,  taking;-  two  to  each  measure,  (A 
quick  devdoppe  is  commonly  called  a  kick.)  liaise  free 
foot  sharply  to  knoe  of  sui)i)orting'  leg-  (1),  extend  free 
foot  to  4th  Raised  Position,  'M'd  Klevation  (2),  hold 
Position  (.')),  return  to  .Ith  Position  (4). 

DEVELOPPE  i)E  COTK  (to  side). 

Same  as  previous  exercise  with  the  foot  extended 
to  2nd  Raised  IN)sition,  returning  alternately  to  5tli 
Position  (front)  and  r)th  Rear  Position. 

Note — The  leg  which  is  extended  nnist  be  held  per- 
fectly straight  and  at  the  height  of  the  waistline,  or 
higher  if  possible. 

There  are  many  students  of  the  Newman  Normal 
School  who  can  take  a  devdoppe  to  the  4th  Elevation 
(shoulder  high)  with  ease. 


DEVET.OPPE  DERRIERE  (behind). 

To  4th  Rear  Raised  Position,  3rd  Elevation,  re- 
turning to  5tli  Rear  Position.  This  is  seldom  used  in 
Ijractical  dancing,  but  valuable  as  an  exercise. 

The  following  (piestions  may  be  used  for  examina- 
tions, though  the  direct  answers  have  been  eliminated 
here,  not  only  to  coiKhMise  the  form,  but  to  compel 
more  careful  stnd\'  of  the  Catechism. 

(1)  \\\u\\  does  the  term  I )(rd it }>})<'■  \\\v<\\\l 

(2)  Is  one  beiielited  physicallx'  l)y  its  ))ractice? 

(M)    What    pai't   of  the  hody  is  most   lienefited? 

(4)  Would  _\'on  considei"  its  piactice  valuable  to 
a  dance.'     (live  xonr  I'easons. 

('))    (live  detailed  desciipt  ion  of  a  Dcrclopix'. 

(G)  Give  the  directions  in  which  a  Devdoppe  is 
made. 


91 

(7)  AVliat  is  the  difference  between  a  Developpc 
and  a  Bdlloinir/ 

(8)  AVliat  does  a  Dt'celoppc    suggest?     Is    it    a 
Temps  or  a  Pasf 

({))   What  is  a  (j[uick  Developpc  commonly  called? 

(10)   Give  a  few  mistakes  that  are  liable  to  occur 
in  performing  a  Dereloppe. 


CHARACTER  OF  MOVEMENT 

Cliaracter  of  movement  has  the  same  relation  to 
the  dance  as  color  to  painting  or  expression  in  music. 
The  various  characters  of  movement  are  produced  by 
the  peculiar  manner  in  which  certain  movements  are 
performed.  This  is  partially  prompted  by  inspiration 
which  is  carried  out  in  the  nnisic  and  transmitted  to  the 
dancer  who  interprets  the  same  through  the  movement 
of  the  body.  In  nmsic  and  dancing  we  might  say  that 
the  character  of  movement  is  brought  about  through 
a  physical  effort.  The  musician  can  produce  tones 
that  are  well  connected,  sustained  "legaio,"  he  can 
make  them  quick  and  sharp  "staccato,"  or  "  })iarcafo," 
which  is  between  the  two.  Each  change  reciuires  moi'e 
or  less  a  physical  effort.  In  the  dance  the  movements 
can  be  smooth  or  gliding,  " glisser,"  "terre  a  terre," 
then  light  and  springy  as  in  the  Jetes,  Sautes,  and  all 
of  the  "BaUoii  Fa  in  It  _i/."  With  the  artist  the  process 
is  more  materialistic  in  a  way  as  the  colors  are  avail- 
able, the  mixing  and  blending  of  which  is  a  matter  of 
experience,  tem])erament,  and  talent. 

Varied  eharaeters  of  inorenienf  in  the  dance  biiiig 
forili  a  charming  effect  and  per])etual  interest,  and 
should  always  conform  to  the  nmsic.  The  ])rincii)al 
characters  of  nio\'ement  are  ////V//';///,  sfeppiin/,  niin/iiK/. 
hoppijir/,  leaf)/i/fi  and  pifeliii/f/. 

Whether  the  dancer  \valks,  runs,  glides,  leaps,  or 
whirls,  the  motions  are  spoken  of  as  steps.  The  length 
of  the  step  varies  and  is  determined  as  follows : 


92 

All  ciifirc  step  is  tlu'  distaiicc  which  separates  the 
4tli  Hear  Position  from  the  4th  I'ositioii  (front). 

A  JJciiii  Stci)  is  just  oue-hair  as  hnii;-,  a  hall"  step, 
from  a  closed  to  an  open  position  or  tlie  reverse. 

A  Quaifci   Stcj)  is  half  of  a  Demi  Sfc/). 

A  TJirce-QiKirfcr  SIrp  is  fioni  ////  luar  Position  to 
Demi  4th  Position  (front).  Tiie  len.^th  of  the  step  is 
regulated  by  the  rhythm  and  character  of  the  music. 
An  Entire  or  WJioh'  Step  may  b(^  c()m|)ared  to  a  whole 
note,  a  Demi  Step  to  a  half  note  and  a  QiKirtcr  Step 
to  a  quarter  note.  There  are  also  steps  that  are 
ecpiivalent  to  eighth,  ,sixteenth  and  thirty-secondth 
notes.  These  are  employed  in  toe  dancing.  (Jiiirk  steps 
are  in raridl)! i/  iniule  short,  diol  sloir  steps  are  made 
loinj. 


CENTER  PRACTICE 

WALKlXd 

VCv  might  say  that  Walking  can  be  (li\-ided  into 
tliree  classes,  the  very  Stoir,  the  Medium  and  the  Fast 
\VatJ{.  Many  dancing  stei)s  ai'e  based  on  the  niodili- 
cation  of  the  walk  and  the  run.  Sometimes  the  dancer 
follows  a  certain  rhythm  which  makes  the  walk  or  the 
run  in  itself  a  dance.  It  is  understood  that  the  walk- 
ing step  used  in  tin'  dance  is  ([uite  dilTeiciit  from  the 
oi'diiiai.x'  walk,  inasnmch  as  it  is  nnide  moie  elaborate. 

One  should  leain  to  iid'li  pidi  ( fiilljj  txjdre  at- 
tcmplinp  to  dance. 

PAS  Aldd-:. 

J^as  Alt''  (];ali  zah  \;\y  )  is  the  ordinai-_\-  oi'  leisure 
walk',  taking  one  step  to  two  counts. 


93 

PAS  MARCTIE. 

Pas  Marclu''  (pah-mar-shay)  is  a  walk  in  military 
precision;  one  step  to  each  count. 

PAS  GRAVE. 

Pas  Grave  (pah  i>i'av)  is  a  slow,  dignifiecl,  majestic 
v.'alk;  four  counts  to  each  step,  used  in  stately  dances 
such  as  the  Minuet,  Gavotte,  etc. 

Begin  with  a  deep  Plic  (1 ),  Glide  R.  F.  slowly  for- 
ward, toe  leading  (2)  (3).  Transfer  weight  (Drgagc) 
onto  R.  F.  with  L.  F.  pointed  in  back  (4).  Repeat 
with  other  foot. 

The  Pas  Grave  which  was  used  in  the  Couraiite 
was  performed  thus : 

Begin  with  the  4tli  Position  with  weight  on  L.  F,, 
with  R.  ¥.  pointed  behind.  Plic,  raising  R,  F.  slightly 
(1).  Bring  R.  F.  toward  the  left  heel  with  instep  of 
R.  F.  in  5th  Rear  Position  (2).  Raise  R.  F.  slightly 
again  in  2nd  Position,  describing  a  small  circle  Pond 
de  Jamhe  en  de  rehors  outward  l3),  then  glide  R.  F. 
forward  to  4th  Position  (4).  Ihis  makes  quite  an 
elaborate  movement. 

PAS  SUR  T.FS  POIXTES. 

Pas  sur  les  pointes  are  walking  steps  on  the  ex- 
treme points,  or  toe  steps.  Toe  steps  should  be  done 
with  legs  straight,  close  together,  with  very  short,  neat, 
stei)s.  The  mode  of  progression  coming  from  the  hips 
and  not  from  the  legs.  The  book,  "Newmax  Art  of 
Toe  Dancixg,"  will  be  f(mnd  indispensable  to  the  Toe 
Dance  r  and  to  the  student  of  Toe  Dancing. 

With  all  the  ])r(  ceding  movements,  with  the  ex- 
ception of  the  WaJknifi  Kxeicises,  the  body  has  prac- 
tically remained  motionhss.  We  have  simi)ly  endeav- 
ored to  classify  the  i)ositi()ns  in  all  directions,  for  l)oth 
the  feet  and  the  hands ;  and  have  started  to  strengthen 
the  muscles.  Now  we  will  liegin  to  move,  to  travel,  to 
advance  along  ])rogressiv('  lines  in  oi-(U'i'  to  follow  ex- 
actly the  Newman  conce])tion  of  llic  I'irtli  of  the  Dance. 


94 


DEGAGE  OR  DEGAGER 

{l)(ii/-f/(ili-:lni_i/) 

The  term  Dvyagv  means  transfer  the  weight  from 
one  foot  to  the  oth(  i*.  This  may  ocenr  in  all  positions; 
but  most  frequent  1\-  in  the  ojien  ones. 

Dnring  the  following  movemcnls  the  arms  should 
always  move  in  harmony  with  the  steps,  antl  when  not 
otherwise  mentioned,  should  hang  gracefully,  and 
lightly,  down  in  front  of  the  body. 

DEGAGE  TO  2xD  POSITION  OR  OPEN  SIDE. 
BALANCE. 

Glide  R.  F.  to  2nd  Position  and  DcfjarjQ  (1)  (2), 
arms  Lateral  R.,  then  Dcf/ar/r  on  L.  F.  (3)  (4)  arms 
Lateral  L.     Repeat   in  all  4  measures. 

Two  of  these  Degagcs  will  produce  a  Balance 
Movemeid  which  is  termed  an  Opiii  Side  Balance,  as 
the  feet  are  apart. 

DEGAGE  FERME  OH  CLOSED  SIDE  BALAN(^E. 

Decjage  R.  E.  to  2n(l  Position  (1);  close  L.  E.  to 
3rd  Rear  Position  (heel  raised)  (2),  J^^everse  (3)  (4). 
Repeat  in  all  4  measures. 

This   is  also  ternu'd   Closed  Side   Indaucc  as  the 
feet  are  brought  together. 
Exercise. 

Repeat  the  lirst  Ejccrc'isc  forwaid  and  backward. 
This  is  called  Open  Fonrard  and  lldcLirard  l>(dance. 
Arms  sway  forward  and  backwai'd,  llironiili  llic  2iid 
Pjxtended  Position. 

Repeat  the  2ii(l  Exci'cisi-  I'oi-ward  and  backward. 
This  is  calh'(l  Closed  Foncard  and  Udekicard  I'xihnice. 
In  going  forward  close  in  back,  .'h'd  IJcai'  Position.  In 
going  backward,  close  in  front,  ."h'd  Position. 


95 

GLISSE 

{Gle-say) 

Glisse  is  a  temps  and  is  made  by  .ulidiiig  the  one 
foot  in  any  direction.    (Hi.sser  is  the  verb  for  Glisse. 

PAS  GLISSE. 

Pas  Glisse  is  a  gliding  stop.  GHde  the  one  foot  to 
any  open  position  and  draw  the  other  to  it.  A  Pas 
Glisse  is  the  same  as  a 

GLISSADE  OR  FOLLOW  STEP. 

Glide  the  foot  to  an  open  position,  Degage  and 
draw  other  foot  to  it  and  again  Drgage.  Every  Glissade 
takes  two  counts,  two  movements,  and  two  changes  of 
weight.  In  drawing  the  foot,  bring  it  to  the  supporting- 
foot  in  5th  Position.  Arms  from  3rd  Extended  Pos.  to 
1st  Pos. 

Exercises: 

One  Glissade  to  the  right  (R.  F.  to  2nd  Position) 
(1).  Draw  L.  F.  to  5th  Position  (2).  Repeat  (3)  (4). 
Repeat  (1)  (2).    Rest  (3)  (4).    Reverse  all  2  Pleasures. 

Repeat  in  all  8  measures. 

One  Glissade  to  the  right  (2nd  Pos.)  (1)  (2).  De- 
gage  R.F.  in  2nd  Pos.  (3).  Close  L.  F.  in  3rd  Point 
Pos.  (heel  raised)  (4).  Reverse  1  measure.  Repe.'it  all 
2  measures. 

Arms  in  3rd  Extended  Pos.,  on  tlie  Glissade  and 
Lst  Position  on  Ihe  Degage,  Close. 

Repeat  ihe  two  preceding  exercises  fnnrard  and 
haekward  icifh  armisi  in  Third  Exteuded  Pos. 

In  the  Glissade  forward  close  in  5th  Bear  Pos.,  and 
in  the  Giissadc  hack,  close  in  ntJi  Pos.  (front). 

STEP  POINT. 

R.  V.  to  2nd  pos.  (1).  L.  F.  i)oiii1('(l  in  4l]i  Pos. 
(2).  Arms  in  Grecciue  Pose  (right  arm  raised).  Re- 
verse this  (3)  (4).    Repeat  in  all  4  measures. 


96 


GLISSADE  AND  STEP  POINT 

(llissdfl,'  to  riiiht  (1)  {•2).  .S7r/;  /'on//  (I',)  (4).  Re- 
verse 1  measure.    Kepcat  all  4  measures. 

Bcpcai  ihc  firo  picvcd'nui  crcrciscs  (onrard  (uid 
hacknard.  hi  tlic  Step  Poii/f  tiir  point  is  (iliraij^  hiade 
ill  (rout. 

STEP  RAISE. 

A  Step  Raise  with  a  Hdiite  (liop)  is  often  called  a 
Siviiifi  Step,  as  one  foot  swings  across  the  other.     It 
is  also  called  a  Temps  Leve  or  Leve  Temps. 
Exercise: 

R.  E.  to  2nd  Pos.  (1).  L.  E.  swings  to  4th  Demi 
Raised  Pos.  (knee  bent)  Saiitr  (hop)  on  sui)porting 
foot  (2).  ]\everse  (3)  (4).  Repeat  in  all  4  measures. 
Arms  move  from  side  to  side  into  (lii'C(jiie  Pose. 

aiissadc  (1)  {'2),  Step  Paisr  {'A)  (4)  Reverse,  etc. 

lie  peat  file  tiro  prceediiif/  e.rerei.'-'cs  for  ward  (uid 
haekirard,  foot  always  raised  in  front. 

POTXT  (^FTAXOES. 

Point  CliaiK/cs  are  changes  of  the  relative  ])osition 
of  the  feet  or  points.  Px-gin  with  a  s])riiig  on  tlie  right 
foot,  same  time  ])oiiit  L.  E.  in  4th  Position  (1).  Spring 
on  L.  E.  and  point  H.  E.  in  4tli  Position  (2),  practically 
on  the  same  spot  vacated  by  the  L.  E. 

Exercises. 

Plight  slow  Point  ( 'Ikiii/ics,  (1)  (2)  to  each  cliaiige, 
4  measures. 

Sixtec-ii  (piick  I^oiiit  ('hdnf/cs,  (1)  to  each  change, 
4  measui'cs. 

'i\vo  and  Thi'ic  Point  ('litiiificy.  Two  Slow  ('haiiges 

(1)  (2)     for  each,  and  three  (]uick  ones  conntiiiL;    (1) 

(2)  (3).     Rest  (4).     Reverse  2  measures. 
Rei)e;i1   in  all  H  measures. 


97 

Combinations  should  be  arranged  with  all  the 
above  steps. 

Note.— The  book  entitled  "Newman  Dance 
Phrases"  contains  hundreds  of  beautiful  Dance  Com- 
binations. 


STRATHSPEY  OR  POINT  RAISE 

StratJispei/~A  movement  found  in  the  Scotch 
Dances  named  after  the  town  of  Strathspey  in  Scotlana. 
It  is  a  very  effective  movement.  In  these  exercises  we 
only  have  taken  the  Stnitlispeij  to  the  side,  then  raised 
in  front  or  in  back  of  the  knee  of  the  supporting  leg. 
But  in  the  Scotch  Dances  the  foot  is  often  pointed  to  the 
front.  This  requires  that  the  shoulder  be  also  directed 
to  the  front.  The  dancer  looking  over  the  shoulder  to 
the  active  foot.  In  taking  the  Strathspey,  the  correct 
Scotch  Pose  should  be  used,  one  arm  in  4th  Pos.,  the 
other  Akimbo.    Look  over  the  shoulder  to  the  free  foot. 

TWO  STKATIISPEYS  FRONT. 

Exercises: 

1.  Hop  on  L.  F.  (X).  Point  R.  F.  to  2\\d  Pos.  (1) 
Hop  again  on  L.  F.  (X).  Draw  R.  F.  up  and  in  front  of 
the  knee  of  the  left  leg  (2).  Repeat  (X)  (3)  (X)  (4). 
Reverse  1  Measure.    Repeat  in  all  4  measures. 

TWO  STRATHSPEYS  BACK. 

2.  Two  StrdfJispci/s,  drawing  free  foot  in  back  of 
the  knee  of  supporting  leg  each  time. 

Repeat  1st  and  2iid  exercise  with  one  Strafhspci/ 
only. 

3.  One  StratJi.spei/  Front   (X)    (1)   (X)    (2). 

4.  One  Sti-athspeii  Bad-  (N)  (3)  (X)  (4). 
Reverse  same  one  measure.    Repeat  all. 


98 


PAS  ELEVE 

Pas  Elevv — Elevated  sk']).  Can  lie  performed  in 
any  diree1i(in  to  the  side,  forward  or  l)aek\vard. 

Glide  a.  F.  to  2iid  Pos.  (1).  L.  F.  close  in  3rd  Kear 
Pos.  (!2).  Elerr  (rise)  on  both  toes  (3).  Ahaissr  (lower 
the  heels)    (4).     This  is  called  Pas  Elerc  to  the  side. 

Reverse  1  Measure.    Repeat  all  4  Measures. 

Repeat  the  exercise  forward  and  backward. 

Note. — Pas  Elevc  is  quite  an  important  step  of  the 
balance.    Two  Pas  Eleves  constitute  a  Balance. 


BALANCE 

{hah-lalni-saij) 

x\  swaying  motion  to  and  fro  at  place,  wdiich  can 
be  done  en  avaiif  (forward),  en  arricre  (backward),  a 
cote  (to  side)  or  cii  fournant  (turning).  Balance  con- 
sists of  two  de(/ar/es — a  transferring  of  Aveight  from 
one  foot  to  the  other.  There  are  four  classes  of  Bal- 
ance, Open  and  Closed,  Balance  a  terre  and  Open  and 
Closed  Baiscd  Balance.  All  Palaners  are  preceded  by  a 
step  in  the  direction  in  which  the  movement  is  to  be 
performed.  In  the  Open  and  Closed  Raised  Fonvard 
and  BacliWard  Balance,  the  rear  foot  is  raised  in  bal- 
ancing forward,  and  the  front  foot  in  moving  backward. 


PAS  BALLONE 

(l)ah  bah-lon-nay) 

Pas  B'alhnnir — a  ball  ste]).  The  extended  move- 
ment of  the  leg  describing  an  arc  in  the  aii-  in  wliieli 
the  foot  seems  to  pass  over  a  ball,  in  an\  direction.  The 
extended  movement  ol"  the  leg  slionid  be  em])hasized 
and  the  "di'awinu-  in"  movement  niei'eh'  sni»'i>'ested. 


99 

Stand  R.  F.  in  5tli  Pos.,  hop  on  L.  F.  (X).  Carry  R. 
F.  in  a  circular  line  to  2nd  Pos.  and  Dcgage  (1), 
aiisse  (glide)  L.  F.  to  R.  F.  (2).  Reverse  (X)  (3)  (4). 

Repeat  in  all  4  measures. 

If  the  circular  movement  is  made  without  a  De- 
(jcuji'  it  is  a  Temps  Balloinie. 


SAUTE 

{so-tai/} 

Saute — a  hop.  A  slight  elevation  from  one  foot, 
alighting  on  the  same  foot  on  the  same  spot.  It  dif- 
fers materially  from  the  Spring,  as  in  the  Spring  the 
elevation  is  much  greater  and  the  foot  need  not  neces- 
sarily return  to  the  same  spot.  You  can  also  spring 
from  one  foot  to  the  other. 

Of  what  does  a  Saute  consist? 

Saute  consists  of  a  short,  quick  bend  and  a  slight 
rise  from  the  floor,  dropping  first  on  the  ball,  then  on 
the  sole  of  the  same  foot  and  on  the  same  place. 

Of  u-lidf  importance  is  the  Saute? 
It  gives  to  the  dance  a  remarkable  degree  of  light- 
ness. 

What  is  the  difference  hetiveen  a  Hop,  Spring, 
Pitch,  Bou)id,  Jump  and  Leap? 

The  Hop,  Spring,  Pitch,  Bound,  Jump  and  Leap 
are  all  more  or  less  related,  the  greatest  difference 
would  be  the  elevation  of  each  and  the  manner  in  which 
they  are  taken. 

The  I/op—TliQ  slightest  elevation  from  one  foot, 
returning  on  the  same  foot  and  on  the  same  place. 

The  Spring — A  greater  elevation,  more  of  a  dart- 
ing  ui)ward    movement,    returning   on    the   same   foot 


100 


but  not  necessarily  ou  the  same  spot.     This  is  used  in 
flying-  movements. 

The  Pitch — Tn  tliis  movement  the  force  is  on  the 
retnrn  to  the  floor  on  one  or  l)otli  I'eet.  In  the  Pitch 
very  little  ])rog'ress  is  made. 

The  Bound — A  l)onndiiii>-  movement,  or  a  bound 
and  rebomid,  performed  from  side  to  side,  from  one 
foot  to  tlie  other,  similar  to  a  Jctr. 

The  Jump — From  one  or  l^oth  feet  on  to  both. 

The  Leap — An  elevated  movement  from  one  foot 
onto  the  other,  in  which  the  greatest  distance  is  covered. 
Mordkin  and  Xijinsky  were  reno^^^led  for  their  leaps. 


Marie  Irene  Kolb, 
'Pas  Seul   in   Faust   Ballet.' 


ioi 
PAS  DE  CHAT 

{pali-(hi/j-.s/i((li ) 

Pas  de  Chat~A  cat  step  ;  a  jerky,  sliui  I,  rapid  step, 
foot  crossing  in  front  or  in  back,  alternately.  Pas  de 
Chat  is  taken  to  the  side  or  forward,  it  is  like  small 
jumps  over  the  waves  when  done  forward.  The  ex- 
treme of  this  step  is  the  extended  leap  which  every  male 
solo  dancer  is  trying  to  perfect. 

PAS  DE  CHAT  TO  THE  SIDE. 

Plie  and  spring  K.  F.  to  2nd  Pos.  (X) ;  immediately 
bring  L.  F.  in  5th  Pos  dessiis  or  dessous  (1).  A  num- 
ber of  these  should  be  practiced  to  the  B.  with  the  L. 
F.  brought  in  front,  and  to  the  left  with  the  R.  F.  in 
front.  Repeat  the  above,  bringing  the  L.  F.  in  back, 
after  which  alternate  the  movement,  bringing  the  foot 
front  and  back,  etc. 


X 


Jdaline   Gartman,   "The   Fawn." 


102 

The  Exi ended  Leap  is  i)roco(led  l>y  a  slop  and 
while  ill  the  air  slraii>liteii  the  k\i's  out  and  apart  as 
far  as  possible  until  you  alight.  This  is  called  a  Leop- 
ard Leap. 

DEER  LEAP. 

Like  the  Leopard  Leap,  excepl  the  front  leg  is  bent 
at  the  knee  (knee  held  high  while  tiie  Tool  is  held  close 
to  the  body)  and  the  other  leg  straight  in  back,  while 
the  dancer  is  in  midair.  Like  a  Deer  lea])ing.  A  very 
beautiful  and  effective  movement. 


PAS  CHASSE 

{shahs-sap) 

'  Pas  CJiasse — A  chasing  step.    In  other  words,  one 

foot  chases  the  other  out  of  place.  Pas  Cliasse  can  bo 
done  in  any  direction.  The  aclual  (.'basing  begins  when 
the  feet  are  ai)ait.  However,  the  Pas  Cliasse  is  gen- 
erally performed  with  a  preceding  step  in  the  desired 
direction.  For  example:  Start  l-i.  F.  in  5tli  Pos.  Plic 
and  (ilide  R.  F.  to  2nd  Pos.  (1 ).  firing  L.  F.  up  to  R.  F. 
smartly  and  simultaneously  glide  R.  F.  again  into  2nd 
Pos.  (2).  Very  often  two  or  more  Chasses  follow  each 
other. 

CHASSE  RUSSE 

The  Cliasse  Basse  is  done  by  placing  the  heel  on 
the  floor  with  the  toe  well  raised,  then  chase  it  out  of 
place. 


THE  CHANGE  STEP 

TIh'  CJiaiif/c  Step  is  a  very  impoilanl  combina- 
tion which  (onsists  of  three  i)ar1s,  and  is  nscd  in  March- 
iiii;',  as  well  as  in  Dancing.  It  is  a  xci'v  ancient  ste]), 
the  origin  of  which  could  no  doubt  ))e  traced  back  to  the 
early  (Jreeks,  wjien  bai'inony  ol'  movcnicnt  jilayed  such 
an  important  factor  in  the  educ.itiitn  of  Man.  In  march- 


103 


ing  it  is  used  when  one  finds  himself  out  of  step,  and  it 
further  forms  the  foundation  of  a  few  Social  Dances, 
such  as  the  Pollva,  Eedowa,  Two  Steps,  American  Three 
Step,  etc.  The  Change  Step  can  be  taken  in  any  direc- 
tion, also  turning  to  right  and  left.  It  consists  of  a 
step,  close,  step  (a  movement  with  each  foot). 


PAS  DE  POLKA 

Bhythm  2-4.  Count  (1)  (X)  (2). 

There  are  two  Polkas,  the  Classic  Polka  and  the 
Modified  Polka,  or  Change  Step. 

Classic  Po^A:«.— Technically  speaking  it  consists  of 
a  Saute,  Glisse,  Coupe  dessous  and  J  etc.  Hop  on  L.  F. 
(X).  (Hide  E.  F.  diagonally  forward  (1).  Bring  L.  F.' 
up  and  cut  R.  F.  foward  (X).  Spring  on  R.  F.  with  L.  F. 
raised  in  back  on  ankle  of  E.  F.  (2).  Repeat  with  other 
foot. 

The  Modified  Polka.— The  form  of  Polka  which  is 
used  in  Social  Dancing  and  is  done  in  a  smooth,  gliding 
manner. 


REDOWA 

I 
a  step  on  each  count 


The  Redowa  is  practically  the  Change  Step  done 
to  %  rhythm  (IMazurka).    Count  (1)   (2)'(n)  and  take 


PAS  DE  GAVOTTE 

Eliylhm  4-4  count  (1)  (2)  {:])  (4). 

R.  F.  diagonally  forward  (1).  L.  F,  closed  to  5th 
Rear  Position  (2).  R.  F.  again  forward  ('^).  Raise  L.  F. 
front  and  hop  on  R.  F,  (4). 

It  is  a  (xlissade  and  Swing  Step. 


104 


PAS  DE  VALSE 

A  s])(H*inl  study  should  be  made  of  the  N'alse 
(\\';dt/)  and  the  student  is  referred  to  the  Pas  de 
Basque  I'or  the  practice  of  the  ehdx)rate  or  C^lassic 
^'alse.  The  A'alse  consists  of  two  Open  Positions,  and 
a  Closed  Position,  and  can  he  taken  in  any  direction 
(except  continuously  to  one  side).  For  a  brief  and  con- 
densed description,  we  give  the  foUowing:  ^lusic  % 
rhythm  (Waltz).  (Vmnt  (1)  (2)  {:])  for  tirst  Measure; 
(4)  (5)  (6)  for  second  Pleasure. 

FORWARD  VALSE. 

Fonnud  Valse~R.  F.  to  4tli  Pos.,  (1).  L.  F.  to 
4th  Pos.,  passing  through  the  1st  Pos.,  {'!).  R.  F.  to 
3rd  Rear  Pos,  (3).  L.  F.  to  4tli  Pos.,  (4).  R.  F.  to 
4tli  Pos.,  (5).    L.  F.  to  3rd  Rear  Pos.,  (6). 

It  takes  six  counts,  or  two  measures,  to  make  a 
complete  Waltz  Movement,  or  one  revolution.  There 
is  no  such  thing  as  a  Three  Step  Waltz,  although  it 
is  sometimes  called  so.  In  practicing  the  B'ackward 
Valse  the  R.  F.  moves  to  4th  Rear  Pos.,  (1).  L.  F.  to  4th 
Rear  Pos.,  (2).  R.  F.  to  3rd  Pos.,  (front)  (3).  L.  F.  to 
4th  Rear  Pos.,  (4).  R.  F.  to  4th  Rear  Pos.,  (o).  L.  F. 
to  3rd  Pos.   (front)    ((5). 

WALTZ  TURNING. 

i^i'actice  the  same  by  the  Scjuare  System.  Imagine 
a  square  about  two  feet  in  size.  Begin  l)y  standing 
with  R.  F.  in  .'h-d  I*os.,  on  the  lower  right  hand  corner  of 
the  square.  R.  F.  to  upper  right  hand  coniei-  ( 1 ).  L.  F. 
to  upper  left  hand  corner  (2).  R.  F.  to  3rd  Pos.,  (3). 
L.  F.  to  lower  left  cornei-  (4).  R.  F.  to  lower  right 
corner  (;')).  L.  F.  to  3rd  Reai-  Pos.  (C).  Re])eat  this 
many  times,  then  gradually  tui'ii  toward  the  right  by 
taking  the  2nd  and  5th  steps  nioic  in  a  (iicular  direc- 
tion. In  the  I'iulit  turn,  the  right  foot  will  always  be  in 
front,  and  in  the  i-eveise  turn,  just  the  opposite,  or  left 
foot  ill  fi-oiit. 


105 

REVEESE  AVALTZ. 

Stand  L.  F.  in  3rd  Pos.,  at  lower  left  hand  corner 
ot  imaginary  square.  L.  F.  to  upper  left  corner  (1) 
o\  •  t^  J^Pl^^^^'  I'i^^'^it  corner  (2).  L.  F.  to  3rd  Position 
[6).  R.  h  .  to  lower  right  corner  (4).  L.  F.  to  lower  left 
corner  (5).  R.  F.  to  3rd  Rear  Pos.  (6).  Then  gradual 
turn  toward  the  left. 

_    _    Note.— In  order  to  join  the  right  turn  with  the  left 
It  IS  necessary  to  take  three  steps  of  the  Waltz  in  a  for- 
ward or  backward  direction  which  will  bring  the  other 
toot  front,  and  enable  one  to  turn  in  the  other  direction 
?i  example,  having  turned  to  the  right,  start  forward 
with  R.  F.  m  4th  Pos.  (1),  L.  F.  to  4th  Pos.  (2),  R   F 
3rd  Rear  Pos.  (3),  then  begin  a  left  turn,  as  the  left 
toot  IS  front.     If  one  desires  to  go  backward,  after 
having  turned  right,  it  will  be  L.  F.  4th  Rear  Pos    (1) 
R   F  4th  Rear  Pos.  (2),  L.  F.  closed  3rd  Pos.  (fi-ont) 
(3),  then  turn  to  the  left. 


RONDS  DE  JAMBE 

Rond  de  jamhe  is  a  circle  described  l)v  the  le^'  or 
the  foot.  ■  * 

Rouds  de  jamhe  are  divided  as  follows:  Petit  and 
Grand,  en  deJiors  (outside)  and  e,i  dedans  (inside) 
a  terre  (on  floor)  and  en  Vair  (arid).  Ronds  de  jamhe 
en  dehors  are  those  in  which  the  foot  describees  the 
circle  by  moving  fonvard.  Ronds  de  jamhe  en  dedans 
the  foot  moves  liackward.  The  outward  eirele  is  more 
usuaJly  employed.  In  the  Rond  de  jaml)e  (Petit)  the 
thigli  must  1)(.  motionless,  the  knee  directed  to  the  side 
and  the  circnlai-  movement  made  bv  tlie  lower  \o<r  the 
knee  acting  as  a  ])ivot.  Tlie  word  Petit  is  usnallv'miit- 
ted  in  wj-iting  Ihis  lei-ni. 

_       The  a  rand   Pond  de  jamhr   is  (Icscriljint;'  a   lai'o-e 
circle  Willi  a   iJei-fcttly  sli-ai<;lit   leg. 

Ronds   dc  janihr   are   usually   ])erformed   from    a 
closed  position  through  an  open  position  and  returning 


106 

to  a  closed  position.  Thoy  can  also  bo  done  from  an 
Open  Position,  throngh  a  Closed,  and  ai^ain  into  an 
Open  Position. 

Demi  [\oiid  dc  id  mix    is  a  halt'  circle. 

SIDE  PKACTICE  (at  the  Bar). 

Free  arm  held  in  3id  Ex.  Pos. 

Grand  lioiids  dc  jauibc  en  dchor,s  a  fcrrc  (outside 
on  the  floor)-  Start  from  the  1st  Pos.  Glide  free  foot 
to  4th  Pos.  (1).  Oarry  it  thronoh  2n(l  Pos.  (2)  to  4th 
Rear  Pos.  (3).  Finish  in  1st  Pos.  (4).  Repeat  this  in 
all  tour  times. 

About  face  and  repeat  iritlt  otlicrfoot,  Ixvepnui  hofJi 
letjs  perfectly  straight  throufjJiotit. 

Repeat  the  same  exercise  in  two  counts,  makinii,' 
eight  circles,  also  in  one  ctnint,  making'  sixteen  circles. 

Grand  Bonds  de  jambe  en  dedans  a  terre.  Glide  to 
4th  Rear  Pos.  (1),  to  2nd  Pos.  (2),  to  4th  Pos.  (:?),  to 
1st  Pos.  (4).     Rei)eat  same  as  previous  exercise. 

Pelii  Bonds  dc  janihc  en  dehors  a  terre — (small 
outside  circle  on  floor).  Kee])  the  knee  of  the  free  leg 
bent  and  the  toes  lightly  touching  the  floor  in  describ- 
ing the  circle,  going  from  1st  Pos.  through  the  Demi  2nd 
Pos.  and  back  to  1st  Pos.  Describing  eight  circles, 
counting  (1)  to  each  circle. 

Follow  this  with  eight  circles  through  Demi  4th 
Pos.,  then  eight  tin-ougli  Hear  Demi  4tli  i'os.,  and  eight 
again  through  Demi  2nd  i^)s. 

About  face  and  repeat  witli  otlicr  loot. 

(I rand  Honds  de  jambe  en  dehors  en  rail-  (adage). 
A  verv  slow  outward  circle.  JJereloppe  to  4th  Raised 
Pos.  :ird  Elevation  (1)  (2).  Arm  in  :]n\  Pos.  (front), 
carry  the  leg  through  the  2nd  Raised  Pos.  (3)  (4).  Arm 
in  3id  Ex.  Pos.  continue  to  the  4th  Rear  Raised  Pos. 
(1)  (2).  Arm  in  4th  Pos.  (over  head),  di'o])  foot  to  1st 
Pos.  (3)  (4),  and  arm  in  1st  Pos.  In  this  eireiihir  more- 
ment  the  free  Jeff  musl  alii  (ii/s  remain  raised  llie  sa)ne 
heifjht  from  the  floor. 


107 

Two  exercises  tliat  will  give  additional  strength 
to  the  thigh  and  hips  are  as  follows: 

Developpc  to  4th  Eaised  Pos.,  3rd  Elevation  (1) 
(2).  Cany  it  through  2nd  Raised  Position  (3)  and  to 
4th  Rear  Raised  Pos.  (4).  Return  to  4th  Raised  Pos., 
passing  again  through  2nd  Raised  Pos.  (1)  (2).  Drop 
to  1st  Pos.  (3)  (4).  Repeat.  Keep  the  free  leg  always 
raised  to  3rd  Elevation. 


Developpe  to  4tli  Raised  Pos.  3rd  Elevation  (1) 
(2).  Pass  through  2nd  Raised  Pos.  (3),  to  4th  Rear 
Raised  Pos.  (4).  Bend  knee  to  side  and  without  touch- 
ing the  floor  agahi  Developpe  to  4th  Raised  Pos.,  and 
continue  around  again,  making  in  all  four  very  slow 
circles,  keeping  the  foot  raised  throughout. 

Bauds  de  janihe  sJujuld  also  be  included  in  Center 
Practice. 

When  performing  the  Bond  de  janihe  en  Vair  in 
actual  dancing  it  is  generally  accompanied  with  a  hop 
on  the  supporting  foot.  This  is  called  Botid  de  jamhe 
Saute. 

FRENCH  TWIST. 

There  is  a  movement  which  is  often  confused  with 
a  perfect  Bond  de  jamhe.  This  is  called  a  French  Twist 
and  is  used  in  Eccentric  Dancing.  The  free  foot  is 
placed  in  2nd  Inward  Raised  Pos.;  (the  leg  bent  with 
sole  of  foot  directed  upward,  and  the  knee  close  to  the 
other  knee,  turned  downward)  hopping  at  the  same  time 
and  tui'ning  the  body  slightly  toward  the  supporting- 
foot.  Hop  again  and  extend  the  free  foot  into  Inter- 
mediate Raised  Pos.  This  is  done  with  a  twist  of  the 
leg,  the  body  turning  in  the  direction  of  the  extended 
foot. 

The  French  Twist  is  very  brilliant  when  done  with 
an  al)undance  of  lightness  and  elasticitv. 


108 

QUESTIONS 

(1)  AVliat  is  moaiit  by  Roiid  de  jambe! 

(2)  How  are  the  Hoiids  de  jambe  divided  ? 

(3)  Describe  a  Koiid  de  jaml)e  and  (J rand  Rond 
de  jambe. 

(4)  What  is  a  Demi  J-iond  de  jambe f 

(5)  Describe  a  Petit  Rond  de  jambe  en  dehors  en 
Pair. 


Pair 


(())  Describe  a  Grand  Rond  de  jambe  en  dehors  en 


(7)  A^^iat  physical  benefit  is  derived  from  tlie  prac- 
tice of  the  Grand  Ronds  de  jambe? 

(8)  Wliat   is  the  Rond  de  jambe  en  Pair  called 
which  is  usually  seen  in  actual  dancing? 

(9)  Describe  a  French  Twist. 

(10)  In  which  style  of  Dancing  is  the  French  Twist 
used  f 


109 


PLASTIC  POSES 

OR 

COMBINED  MOVEMENTS  OF  ARMS  AND  FEET 

In  the  following-  movements  all  parts  of  the  body 
are  brought  into  action.  The  arms  and  feet  must  reach 
their  destination  at  the  same  time,  the  various  parts  of 
the  body  moving  in  harmony.  Each  exercise  is  prac- 
ticed four  times  slowly,  each  to  four  counts  of  the  music 
(4/4  Rhythm),  then  eight  times  each  to  two  counts. 

It  may  be  incidentally  mentioned  here  that  a  very 
pretty  effect  will  be  obtained  by  holding  a  rose  and 
changing  it  from  one  hand  to  the  other,  as  the  exercise 
or  movement  demands. 

It  is  further  advised  to  continually  refer  to  the 
arm  positions  and  movements  which  have  been  previ- 
ously explained. 

CENTER  PRACTICE. 

Begin  each  exercise  with  Arms  in  1st  Pos.  and 
always  return  to  1st  Pos. 

1.  Eleve  (rise)  in  3rd  Pos.  Arms  from  1st  Pos.  to 
3rd  Pos.  (front).  Count  (1)  (2)  and  drop  on  (3) 
(4).  Arms  to  1st  Pos. 

2.  R.  F.  pointed  to  2nd  Pos.  (1)  (2).  Arms  to  3rd  Ex. 
Pos.  (to  side). 

Return  foot  and  arms  to  1st  Pos.  (3)  (4). 
Reverse, 

3.  R.  F.  pointed  to  4th  Pos.  (1 )  (2).  Arms  to  4th  Pos. 
(U  shape). 

Return  to  1st  Pos.  (3)   (4). 
Reverse. 

4.  R.  F.  to  4th  Rear  Pos.  (1)  (2).  Arms  in  5th  Pos. 
(up  outside  and  down  inside). 

Return  to  1st  Pos.    Reverse. 

5.  R.  F.  Point  to  Crossed  Pos.  (1)  (2).  Arms  in  Atti- 
tude, or  Opposition.  (1^.  A.  in  4th  Pos.  R.  A.  in 
3rd  Ex.  Pos.) 

Return  to  1st  Pos.    Reverse. 


110 

{;.  K.  F.  to  Crossed  Hear  Pos.  (1)  (2).  Arms  in  Atli- 
tiuk'.     (R.  A.  in  41h  Pos.  L.  A.  in  .'Ird  F.x.  I^>s.) 
Koturn  to  Ist  Pos.  and  Kcvcrso. 

7.  Latvnil  Pose.  I)ega^i;e  K.  F.  to  2iul  Pos.  (L.  F. 
pointed  to  side).  Aims  l>atoral  to  riglil  (1)  (2). 
Draw  L.  F.  to  1st  Pos.  xVrms  return  to  1st  Pos. 
(3)  (4).    lieverse  this.    Repeat  four  times. 

Then  continue  the  same  foot  work  and  use  the  Lat- 
eral nii>li  and  Ijatoral  Low  Arm  positions. 

8.  Pas  Eleve,  Anns  fourth  and  jourth.  Pas  Eleve 
to  right,  R.  P.  to  2nd  Pos.  (1).  L.  P.  to  3rd  Pos. 
(2).  Rise  on  toes  (3).  Drop  (4).  1  Bar  same  time, 
R-.  A.  in  4th  Pos.  on  the  rise  and  return  to  Lst  on  the 
Drop. 

Reverse  this  and  the  L.  A.  in  4th  Pos. 
Note. — This  is  not  done  in  half  time. 

9.  K)icel,  tal'iiif/  Botaiy  Motion,  or  Spanisli  Circles. 
Kneel  on  left  knee  and  start  Rotary  Motion  with 
the  Arms,  by  moving  R.  A.  across  the  body  to  4th 
Pos.  This  is  Right  Rotary  Motion.  The  body 
should  also  rotate;  that  is,  bend  forward  to  side, 
back  and  to  other  side. 

Count  eight  to  one  circle,  then  count  four.  Rise  and 
Reverse  entire  movement. 

10.  Siving  Step  with  Arms  in  Side  Balance. 

Swing  Step  to  right  and  Swing  the  Arms  to  the 
right  side,  reaching  Greccpie  Pose  (1)  (2).  Reverse 
it  (3)  (4). 

1 1.  ('ross  Balance  with  Forward  and  BacLicard  I'xdance 
of  the  Arms. 

R.  F.  to  2nd  I'os.  (1).  L.  I"\  cross  (fi-oiit).  I'lace 
weight  on  same  (2)  hold  (.'>).  'I'raiislVi-  weight  to 
R.  F.  (4).  Same  time  Arms  move  aci-oss  the  body 
to  the  right  side,  passing  through  5th  Pos.  into  Lat- 
ci'al  Low.    Reverse. 


Ill 

ATTITUDE  AND  ARABESQUE. 

Attitude. — This  word  in  the  technical  language 
of  dancing  has  a  significance  which  is  traditional  and 
precise.  It  does  not  mean  any  position,  as  a  literal 
translation  from  the  French  ivoiild  seem  to  imply.  It 
designates  a  position  on  one  foot  and  usually  on  the 
Demi  Point,  the  other  leg,  bent  and  raised.  The  leg  must 
be  held  waist  high  with  the  upper  part  directed  to  the 
Intermediate  liear  liaised  Pos.  and  the  lower  part  bent 
at  the  knee  and  held  in  Crossed  Rear  Raised  Pos.  One 
arm  is  held  horizontal  (3rd  Ex.  Pos.),  while  the  other 
is  curved  above  the  head  (4th  Pos.),  which  brings  it  into 
opposition  with  the  supporting  foot.  The  body  must  be 
held  upright  with  an  arched  back.  Attitude  is  often 
called  Mercury  Position,  taken  from  the  Greek. 

Xotwithstanding  the  fact  that  there  are  several 
variations  of  the  Attitude,  which  are  brought  about  by 
the  change  of  arm  positions  only,  the  lower  extremities 
practically  remain  the  same. 

Attitudes  can  be  a  terre  and  en  I 'air.  AVhen 
a  terre,  one  toe  rests  on  the  floor  in  back,  while  the  sup- 
porting foot  is  flat. 

Attitude  is  de  /«ce— (facing  front).  The  Greeks 
have  associated  the  word  xVttitude  with  the  Flying 
Movement,  as  it  is  significant  of  the  same.  A  special 
study  of  Attitudes  and  Arabesques  should  be  carefully 
made. 

Practice  each  one  very  slowly,  which  will  liriiig 
about  perfect  balance,  after  which  they  should  be  done 
con  elevation  (great  spring  in  the  air). 

R'egin  the  slow  Attitude  with  a  decided  l)end,  and 
gradually  raise  the  body  until  six  has  been  counted. 
Rise  on  the  toe  on  7  (still  retaining  position)  and  return 
to  the  floor  on  8. 

The  AHiludcs  hci'e  given  are  (^nployed  in  the  Xew- 
maii  Sysfon,  and  are  ari'anged  ])]-ogressively. 

1.  AtlihifJc,  Flyiuy. — Supporting  foot  fm'wnrd, 
free  leg  bent  at  knee.  Arms  in  3rd  Ex.  Pos.  (to  side) 
to  represent  -w  iiigs. 


112 

2.  Attitude,  Mercuri/. — The  one  in  general  use.  R. 
F.  forward.  L.  F.  raised  back,  bent  knee.  L.  A.  held  in 
4tii  Pos.   E.  A.  in  3rd  Ex.  Pos. 

3.  AttltucU'  a  (Icu.r  hras,  I'otli  arms  raised  in  -illi 
Pos.    The  free  leg  in  back  slightly  crossed. 

4.  Attitude  Grecque. — One  arm  in  4tli  Pos.,  the 
other  in  2nd  Pos. 


THIGH  EXERCISES. 

That  produce  a  perfect  Attitude. 

Face  the  Bar  and  hold  with  ]>o{li  hands. 

1.  Bend  R,  Leg  at  the  knee  with  the  lower  part  of 
leg  held  straight  back  (2nd  Elevation)  (1).  Raise  the  R. 
Knee  to  the  side  with  a  jerk,  to  the  3rd  or  4th  Eleva- 
tion (2).  Lower  R.  Knee  to  L.  Knee  (3).  Lower  R.  F. 
to  floor  (4). 

Reverse  it  and  continue,  8  Measures  in  all. 

Repeat  entire  exercise  in  2  counts,  8  Measures. 

2.  Same  as  No.  1,  raising  the  knee  four  times  with- 
out di'op])ing  foot  to  the  floor. 

3.  Raise  knee  as  before,  higli  to  tlie  side  (1),  and 
without  lowering  the  knee,  cross  the  leg  very  much  in 
back,  so  that  the  foot  can  l)e  seen  on  the  left  side  (2). 
Return  tlie  knee  to  the  R.  si(h'  again  (3).  I^owci-  foot  to 
ilic  flooi-  (4). 

I\('Vcis(',  etc. 

4.  Same  as  Xo.  3.  Raise  the  kiicc  to  tlic  side  and 
cross  tlie  leg  vei-y  nmeli  tlu'ee  times,  then  lowei*  tiie 
foot.    Reverse. 


113 

ARABESQUE. 

Arabesque  is  a  special  coml)iiiati<)ii  of  i.-ositions  of 
the  legs,  arms  and  torso.  The  (hiiu-er  is  supi)orted  on 
one  leg  while  the  other  is  lifted  so  that  it  describes  a 
long  curve,  which  begins  at  the  tip  of  the  raised  hand 
and  continues  along  the  body  to  the  tip  of  the  toe  of  the 
raised  leg.  The  raised  arm  is  in  Demi  Ex.  4th  Pos 
(Palm  turned  outward),  the  other  arm  in  Demi  Ex.  2nd 
Pos.  (palm  turned  dowmvard).  Arabesques,  whether 
a  terre  or  en  Pair,  are  always  to  the  side.  In  other 
words.  Arabesques  are  always  profile  or  demi  profile.  In 
making  point  Arabesques,  the  extended  leg  is  held  per- 
fectly straight. 


"Arabesque,"  Mae   Daw,  Sally  Co.,  New   York. 


1.  Aiabe,s(iHc  Or/liudiic.  The  one  in  general  use. 
B'ody  supported  on  H.  P.  to  side  willi  l.'fl  loa;  riusod] 
slightly  curved  to  tlie  left  side. 

P.  II.  raised  to  4th  Demi  Ex.  Pos.  (palm  turned 
outward).  P.  IT.  raised  to  2nd  Demi  Ex.  Pos.,  toward 
and  along  the  left  leg  (palm  downward).  Pace  towjird 
(he  right;  body  curved,  showing  a  decided  bow  from  the 


114 

raised  R.  IT.  aloiiu'  the  body  to  tlic  toe  of  the  ralsiMl  lel't 
foot. 

2.  Arabesque  aUouger  (stretched).  Legs  and  arms 
held  perfectly  straight.  The  raised  leg  straight  to  the 
side,  waist  high;  the  I'ight  arm  straight  toward  the 
I'ight,  the  left  arm  ))arallel  with  the  left  leg,  body  in- 
clined just  slightly  toward  the  right. 

3.  Arabesque  foiidu  (sinking).  Same  as  ^/Y/^r-sYy/^p 
alloufier,  with  the  supporting  leg  decidedly  bent. 

4.  Arabesque  penche  [leau'nif/).  Practically  the 
same  as  the  i)receding  Arabesque,  leaning  decidedly 
downward  toward  the  floor  to  the  right,  the  H.  H.  al- 
most touching  the  floor,  with  the  left  leg  raised  upward, 
producing  a  vertical  line  downward  from  the  raised  left 
foot  to  the  right  hand. 

5.  Arabesque  OpposHiou.  Same  foot  position  as 
Arabesque  Ordiuaire,  with  the  Left  Arm  raised  front 
slightly  bent  (to  allow  the  face  to  he  seen)  and  dii'ected 
toward  the  right,  Left  Arm  raised  in  l)ack  oi'  body  di- 
rected toward  the  left. 

6.  Arabesque  alter)iative  form.  R.  F,  crossed  in 
front.  R.  H,  raised  high  toward  the  left.  Left  leg- 
crossed  and  raised  in  back.  L.  i  I.  raised  in  l)ack  toward 
left  leg.  Right  shoulder  directed  fi-ont  (to  spectator) 
and  look  toward  R.  IT. 

7.  Arabesque  croise.  The  same  foot  ])osition  as  the 
Arabesque  alfeniafir(',v:\\h  tlie  L.  11.  I'aiscd  to  tlic  side 
high  and  the  1\'.  II.  down  towai'd  the  li^lit  side  {'2\\d  \']x. 
Pos.). 

8.  Arabesque  fete  fJe  eerf  (antlers  of  a  stag).  The 
same  as  Arabesque  Ordiuaire,  with  botli  aims  held  Lat- 
eral High  toward  the  side  of  the  sui)i)oi'ting  foot.  Some- 
times called  Angel  Arabesque. 


115 


THIGR  EXERCISES 

That  produce  a  perfect  Arabesque. 
Face  Bar  as  before. 

1.  Bend  the  knee  as  in  the  foregoing  exercises  and 
raise  the  knee  to  the  aide  (1).  Straighten  the  leg  in  back 
as  high  as  possible  (2).  Bend  knee  again  to  side  (3). 
Lower  foot  to  the  floor  (4). 

Reverse  and  repeat. 

2.  Same  idea  as  No.  1,  in  2  counts.  Bend  and 
stretch  the  leg  straight  in  back,  repeating  this  move- 
ment tliree  times;  then  lower  the  foot  to  the  floor. 

Reverse. 


'AIDA"    BALLET. 


^^H 

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■SiH^'v.iB       ^^^^H^^^^B'        tir^^^Ci^B^Wi'  ^M  NL  iSMV^^sB^^H^^Ef  J 

R j|7\j&  yl^p*^ 

W^^  fl^^UK  "^    ivl  Wr  1^^^ 

li  vittl  I 

Ll^HKil-^^^^  fej 

^H^H^  '^^^L^^'' ' 

Ltf '  JH^^I^^^B^I^^^^^B^^^^^^Bhf  ^fl^^^^^^^^^^v'J^^'^^^l 

■■MHii 

mi|^juiJJiLcW4^pp.i ''- ■  :^r:j;^i^^^MS^mmJ^ 

The   First   Amateur    Gi.uul    uy^iu    wjiys   de    Ballet    in   the    World. 
Albert   W.   Newman,  Ballet   Master. 


116 


TURNS 

Turns  occupy  a  most  ini[!()rtaiit  place  in  IIk  dance. 
Tlicy  are  used  as  an  oinanuMit,  or  to  brini;-  a  certain 
phrase  to  an  end;  and  again  they  are  used  most  promi- 
nently to  display  the  wonderful  dexterity  of  the 
Dancer. 

It  is  needless  to  say  that  in  order  to  i)erfectly  exe- 
cute many  of  the  turns  here  described,  an  inmiense 
amount  of  practice  is  necessary  and  a  great  command 
of  the  balance  of  the  body  is  required. 

A  vast  number  of  Turns  have  been  invented,  and 
many  steps  are  executed  while  turning.  Some  Turns 
are  on  the  ground  and  others  are  in  midair.  Some 
are  progressive,  others  are  stationary  (tour  sur  la 
place)  at  place.  The  arms  have  a  very  important  part 
to  play- in  the  Turns,  as  the  force  used  in  turning  comes 
mostly  from  the  aims  being  swung  across  the  l)ody  in 
the  direction  of  the  Turn;  the  body  is  held  erect,  but 
not  stiff.  A  rif/])f  fiini  is  a  turn  of  the  body  from  left 
to  right  and  a  left  turn  Is  jiisl  the  reverse. 

A  number  of  Tunis  done  consecutively  might  be 
compared  with  a  string  of  Pearls.  AVe  often  speak  of 
precious  stones  as  an  illustration,  as  each  Turn  should 
be  beautifully  rounded,  lirilliant  and  spaikling  in  exe- 
cution. 

llie  body  alirai/s  beyiiis  llic  Tuni  tx'forc  the  aetual 
step  lias  been  talxeu. 

It  seems  lalher  peculiai  thai  tin  woi-d  IMiondle 
should  invariably  l)e  associated  with  almost  any  turn. 
This  is  a  great  mistake,  as  a  correct  Pirouette  is  really 
a  masterly  performance.  P]ven  IIh'  Pirouette  in  its 
correct  form  is  often  attem]if('d,  bnl  rarely  well  exe- 
cuted. 

English-speaking  people  liave  substituted  lln'  word 
Pirouette  for,  what  is,  coii'cctly  si)eaking,  an  JsseuiJdr 
soute)nis  ill  I  nil  riKiiil :  a  sustained  lui'ii  in  closed  ]iosi- 
lion,  wliich  ("\-ci'y  dancer  us(=s.  The  length  of  the 
French  tei'in  is  pi<)l)al)l\'  llie  I'eason  for  snbsliluting 
the  shorter  one,  bnl   in  this  book  i1  is  refei-i-ed  to  as  a 


117 

Firoiiette  on  hoth  feet,  and  the  correct  Pirouette,  with 
its  variations,  will  be  found  under  a  special  heading. 

Again  we  repeat,  that  the  most  iuiportant  thing  in. 
a  perfect  turn  is  absolute  halauce. 

The  proper  placing-  of  the  feet  is  necessary,  and, 
with  but  few  exceptions,  one  foot  must  bo  placed  in 
front  of  the  other.  Usually  the  foot  which  is  in  front 
designates  the  direction  in  which  the  turn  is  to  be 
taken.  In  the  right  turn  the  right  foot  must  be  in 
front  and  in  the  left  turn  the  left  foot  in 
front.  This  will  eliminate  any  swaying  of  the  body 
from  side  to  side.  The  body  mwrt  always  be  placed 
directly  over  the  supporting  foot.  A  good  suggestion, 
that  will  assist  the  student  to  retain  the  balance,  is  to 
pick  out  some  object  on  a  line  with  the  eyes  and  after 
having  made  the  Turn,  again  locate  the  same  object. 
This  will  be  the  means  of  straightening  the  spinal  col- 
umn <nid  avoid  the  bending  of  the  body  caused  by  look- 
ing downward. 

The  following  turns  will  afford  interesting  prac- 
tice and  will  be  found  very  valuable  in  composing- 
dances. 

1.  Pirouette  on  Both  Feet. — This  turn  can  be  made  in 
any  direction  and  is  the  one  in  general  use  and 
the  tiist  one  to  be  taught.  It  is  always  preceded 
by  a  step  in  the  direction  in  which  the  turn  is 
to  be  taken. 

Directions:  Start  from  5th  Pos.,  then  P.  P.  in 
Open  Position  (any  direction).  Bring  the  L.  F. 
all  around  in  front  to  Double  Crossed  Pos.  Rise 
on  both  Demi  Points  and  make  a  complete  turn 
toward  the  right,  finishing  with  the  li.  P.  in  5tli 
Pos.  In  making  a  right  turn,  finish  with  R.  F. 
front,  aiKJ  in  a  left  turn,  finish  L.  F.  front. 
Arm  movements  for  this  turn: — From  1st  Pos. 
into  -')i-d  Ex.  Pos.,  in  the  act  of  turning.  As  the 
half  turn  has  been  made  (the  back  is  toward 
the  audience),  the  arms  should  be  brought  to 
3rd  Pos.  (I'ounded  in  front)  ;  when  com})leting' 
the  turn  bring  arms  to  -nd  Ex.  Pos. 


118 

"When  making'  several  Pirouettes  in  succession,  the 
aims  move  ra})i(lly  from  ih'cl  Ex.  Pos.  to  3rd 
Pos.,  and  again  to  3rd  Ex.  Pos.  for  each  turn. 
This  gives  force  to  the  turn. 

A  number  of  Pirouettes  done  consecutively  \\\\\ 
produce  quite  a  progressive  movement. 

The  step  that  precedes  the  actual  turn  sliould  not 
be  made  too  broad,  as  this  will  necessitate  addi- 
tional energy  and  force.  A  smaller  step  will  sini- 
])lify  the  turn  greatly. 

Left  turns  should  also  be  carefully  })racticed. 

2.  Oj)c}i  Tuni  oil  One  Foot. — A  turn  in  open  position 

on  the  one  foot.  Place  the  R.  F.  in  2nd  or  4th 
Pos.,  and  make  one  revolution  toward  the  right 
by  raising  the  L.  F.  and  bringing  it  all  around  in 
front  of  the  R.  F.,  and  finishing  the  turn  by  point- 
ing L.  F.  in  4th  Pos.  Keep  feet  apart  during 
entire  turn. 

3.  Pirotc. — Turn  on   one  foot  by  moving  the   other 

around;  the  feet  kept  in  open  position.  Step  on 
R.  F.  in  Demi  4th  Pos.  (1 ).  Turn  on  R.  F.  to  the 
right  by  moving  the  L.  F.  a  little  toward  the 
front,  and  at  the  same  time  lift  the  right  heel  and 
make  a  slight  turn  on  the  ball  of  R.  F.  (X).  Con- 
tinue this  movement  all  around  to  complete  the 
turn. 
The  Pivofe  is  a  gradual  turn,  sometimes  called 
Paddle  Turn,  as  one  foot  seems  to  work  like  a 
paddle,  and  is  the  turn  used  in  many  Folk 
Dances.     TJic  accent  falls  on  the  sii pporliiifj  foot. 

4.  Pirotc  Pcrcrse,  or  Pack  Pirotc. — Same  ))osition  as 

Xo.  3,  the  excei)tioii  l)eing  a  left  turn  on  the  K.  F. 
and  a  right  turn  on  the  L.  F.  One  aim  akimlx), 
the  other  in  4th  Vos.  'I'his  turn  is  used  in  Fgyp- 
tian  Dances. 

').  Pf/i//)ti(iii  Piini. —  'I'his  is  ])iacti('nll\'  a  I'ivole  in 
Closed  Position.  R.  F.  in  o\\\  I'os.,  with  L.  F. 
l)oiiited  inl)ack,  knee  slightl>  bcnl  (  1  ).  Sti-aighteii 
left  leg,  raise  heel  of  R.  F.  .ind  tniii  (Pivote) 
slightly  to  liulit   (X).     Rcjicat.    This  should  be  a 


119 

decidedly  bobbing  up  and  down  movement.  Arms 
move  to  5tli  Pos.  and  down  to  1st  Pos.,  or  Snake 
Movement  arms  held  in  8rd  Ex.  Pos. 

6.  Two-Stcp  Walk  Turn. — A  turn  with  two  walking- 

steps.  R.  F.  to  2nd  Pos.  Turn  to  right  (1)  by 
bringing  L.  F.  around  in  front  and  place  it  in  4tli 
Eear  Pos.,  having  completed  the  turn  (2).  This 
turn  generally  precedes  a  bend  and  rise  of  the 
body  {Rcnuassc). 

7.  Three-Step  Walk  Turn. — A  turn  with  three  wallv- 

ing  steps,  which  can  be  done  in  any  direction,  in  a 
straight  line.  It  is  a  progressive  turn.  R.  F.  to 
2nd  Pos.  (1),  turn  half  to  right  by  bringing  L.  F. 
to  2nd  Pos.  (face  up  stage)  (2).  Complete  the 
turn  by  bringing  R.  F.  to  2nd  Pos.  and  point 
L.  F.  to  side  (3).    Pose  (4). 

8.  Three-Step  Walk  Turn,  u-'itJi  Point. — Same  as  Xo. 

7,  and  Point  the  L.  F.  in  4th  Pos.  on  (4). 

9.  Three-Step  Walk  Turn,  with  Raise. — Same  as  Xo. 

7,  and  raise  the  L.  F.  front  and  Hop  on  R.  F.  (4). 

10.  Four-Sfrp  Walk  Turns. — Two  turns  making  four 

walking  steps. 

11.  Traveling  Turns. — Same  as  Walking  Turns.    Take 

very  small  steps,  keeping  the  legs  straight.  R.  F. 
in  front  for  the  right  turn  and  L.  F.  in  front  for 
the  left  turn.  To  make  these  turns  even  and 
smooth  take  the  same  size  step  and  in  the  same 
direction. 
Take  Travelinn  Turns  to  the  right  with  seven  steps 
and  Poiiii  Ij.  F.  front  on  eight.  Reverse  all. 
There  must  l)e  a  smooth  transfer  of  weight  from 
one  foot  to  the  other,  Vi\\\  be  done  on  Demi 
Points  ()!•  Points.  Traveling  Turns  arc  ot'ten 
done  to  end  a  Solo. 

12.  Drroulr. — Same    as    Tra\'eling    Tunis.      A\'alk    on 

I'oints  in  one  direction,  turning  I'onnd  and  round 
and  return  (o  place  while  tuniing  the  other  way. 


120 

13.  Double  Cros.-!  Tniii.—\\.  F.  in  'Ah  Pos.     Bring  the 

R.  F.  aiouiid  ill  I'loiil  to  Double  Crossed  Pos. 
Rise  on  Demi  Points,  and  turn  to  the  left.  Finish 
with  F.  F.  ill  front. 

14.  Rein-erse.  L'pset  Tiini. — Begin  with  K.  F.  pointed 

in  4th  Pos.  Arms  Lateral  to  the  left.  lUing  K.  F. 
around  to  the  right  in  back  of  the  L.  F.  (entwine 
it,  so  to  speak),  arms  Lateral  to  right  and  bend 
body  toward  the  left.  The  R.  F.  that  entwines 
the  1^.  F.  is  i)la('ed  on  the  lloor,  aroniid  and  in 
front  of  L.  1\  l\ise  on  Demi  Points  and  make  a 
complete  turn  right  and  bend  body  to  right  with 
arms  in  (irccqne  Pose  (L.  IF.  raised).  In  the 
entwining  position  lioth  knees  are  lient. 

Note. — A  very  line  illustrated  descri])1  ion  of  the 
Renverse  will  be  found  in  the  book  entitled  "The 
Dance,"  by  the  Kinneys. 

15.  Fairy  Turn. — Turn    on    the    extreme    points    (5th 

Pos.)  with  very  rapid,  daintv  toe  steps.  Arms  in 
5th  Pos. 

16.  Spiral  Turn. — Turn  on  extreme  points  (5th  Pos.). 

Begin  by  bending  and  gradually  rise  dnring  the 
turns.    Arms  raised  to  4th  Pos. 

17.  Open    Hop    Tiiiu    (])oth    feet).      This    is,    in    other 

words,  a  Sn-in(/  Step  'J' urn.  Ste])-ll()i)  on  P.  F., 
swing  L.  F.  across  and  make  a  lialf  tui'ii  to  the 
right.  Step-Hop  on  L.  F,,  swing  K.  F.  arms  in 
front  and  com])lete  tiie  turn  to  the  K. 

18.  Half  Opeu  J/op  'J' urn,  with  lloiid  ite  Jatube. — Step- 

llop  on  1\.  F.  Swing  L.  Y.  across  in  front.  ]\fake 
a.  half  tui'ii  to  right.  Step-ilop  on  L.  F.  ('oin- 
plete  llie  tnni,  and  Ixoiid  dv  janiltc  en  Pair  I\.  F. 

li).  II all  Open  Hop  'ruin,  with  Waltz. — Step-llo})  on 
H,  F.,  and  swinu'  l>.  I'\  aci'oss.  Make  half  turn 
to  light.  ('om])h't('  turn  with  three  Waltz  Steps. 
(Stcj)  L.  F.,  back  U.  P.  to  si(h-  close  L.  F.) 

'20.  JJalfOpen  Hop  '/'urn,  u/lli  Con riesi/.-  'I'nni  to  the 
right   <»ii    Ii.   I'\   with  one  Swing  Step,  making  a 


121 

complete  turn.  Finish  by  placing  L.  F.  in  Crossed 
Rear  Pos.  (Toe  on  floor)  and  Courtesy. 

21.  Mooyl^h  Till  II. — Aims    in    Giecque    Pose.      R.    11. 

raised,  palm  turned  up.  L.  11.  palm  turned  down- 
ward. Turn  to  the  right  with  small,  running 
steps,  feet  in  5th  Pos.  (R.  F.  front). 

22.  Arabesque  Hop   Tiirii. — Arabesque  on  R.  F.  and 

hop  around  toward  the  right,  retaining  the  Ara- 
besque Position  throughout.  The  Outward  Turn 
is  in  the  direction  of  the  supporting  foot  and  the 
Inward  Turn  toward  the  raised  foot.  Both  turns 
can  be  made  on  the  same  foot. 

23.  Promenade. — Arabesque  on  R.  F.     Turn  right  by 

moving  the  heel  around  wath  a  series  of  lifting- 
movements,  using  the  ball  of  the  foot  as  a  Pivote. 

24.  Roulette  Turn. — Same  as  Arabesque  Turn. 

25.  Romp  Turn  (stationary).    Step-hop  on  R.  F.  witii 

left  leg  raised  in  front,  knee  bent,  lower  leg  di- 
rected downward  (1)  (X).  Step  back  on  L.  F. 
and  hop  with  right  leg  raised  in  front  (2)  (X) 
to  complete  the  turn.  Romp  Turn  consists  of 
two  Romping  Steps. 

26.  Romp  Turn   (progressive).      Step-hop    on    R.    F. 

with  L.  F.  raised  front  (1)  (X),  making  a  half 
turn  to  right.  Step  back  on  L.  F.  in  line  of  direc- 
tion.  Hop  and  raise  R.  F.  front,  completing  the 

turn  (2)  (X). 

27.  Jete  Dessous  en   lountaute. — R.-  F.    to    side     (1), 

bring  L.  F.  around  in  front  of  R.  F.  Spring  on 
it,  making  a  complete  right  turn  in  the  air. 
Aliglit  on  L.  F.  with  R.  F.  raised  in  front  (2).  A 
niimlx  r  of  J  etc  Tunis  are  generally  made  in  suc- 
cession and  in  the  same  (Urection.  Tlie  raised 
foot  mU'St  be  plaeed  in  correct  posifioii  irJiilc  in 
the  air,  at  the  knee  of  the  other  Jeci. 

28.  Jete  Dessus  en    fournant. — Same  as  Xo.  27,  with 

foot  raised  in  back  during  the  turn. 


29.  Ora)id  Ji'tr  Dcssus  cii  foiiruaiit. — Same  as  Xo.  28 

except  that  butli  k\i>s  are  held  straight  during  the 
leap  and  directed  to  the  rear  (up  stage). 

30.  .S7(/^/  Turn. — .Make  a  Jcfr  Turn  Dcs.^us  to  the  right 

on  (1)  (2).  Step  on  K.  F.  (.'5).  Swing  tiie  L.  F. 
across  in  front  and  hop  on  K.  F.  (4). 

31.  Tour  (')i  J\4ir. — R.  F.  in  5th  Pos.     Spring  u])  and 

turn  in  midair  (complete  turn  to  tlie  right). 
Alight  in  oth  Pos.  Tj.  F.  fi'ont.  Several  turns 
are  often  made  before  alighting. 

.■■)2.  Nussia)!  Turns. — Same  as   Tour  cit  VAIr,  making 
several  revolutions  in  the  air. 

33.  Scotch  Hop  Turn. — Turn  to  tlie  light  by  iiojjpin.g 

on  R.  F.,  with  L.  F.  raised  in  front  (knee  l>ent). 
This  turn  may  also  be  called  Saute  en  tournant. 

34.  Cross  Pass  Turn,  used  in  Scotch  Dancing.    Turn  to 

right  by  hoi)ping  on  R.  F.,  with  the  I..  F.  raised, 
crossing  and  passing  it  in  front  and  in  back  of 
right  knee. 

35.  Strathspey  Turn   (turn  to  the  right).     S])ring  on 

R.  F.  and  Point  L.  F.  front  (1).  ll(»p  on  H.  F. 
and  raise  L.  F.  to  knee  of  right  leg  (2),  making 
several  Straths])eys  to  com])lele  the  turn. 

Note. — These  tliret'  Iniiis  are  used  in  Scotch  Danc- 
ing and  can  be  made  turning  to  tlie  left  1)y  hop- 
])ing  on  the  R.  F. 

36.  Irish  Turn. — Spring  (ui  R.  F.  and  Point  L.  F.  back 

in  3rd  Rear  l^ls.  (1).  Spring  on  Tj.  F.  and  Point 
K*.  F.  back  in  3r(l  Rear  Pos.  (2).  ("onlinuc  and 
turn  giadually  to  the  rigid.  'I'liis  tuin  consists 
of  Petit  .Ictcs,  with  Point  on  (loor. 

37.  Foucllr  en  loumnnf. —  R.  I'\  l>ack,  turn  to  right  by 

wliip])iiiu-  L.  F.  (straiulit  leg)  across  R.  V\  1o  the 
rear  (up  stage)  (1  ).  Spiiiig  on  R.  F.,  complete 
the  turn  in  air.  still  retaining  raised  ])osition 
(rear),  with   L.   liCg,  knee  sliulitly  bciif. 


123 

38.  Cahrioh'   Turn. — Practically  the   same  as  Foiiette 

eit  founiant,  with  a  Battii  (strike  the  legs  to- 
gether ill  midair)  on  the  return,  face  front. 

39.  (iraiid  Pas  de  Basque  cii  toaniaiit. — Jete  to  right. 

Alight  in  4th  Rear  Pos.,  turning  body  half  to  the 
right  (1).  Bring  L.  F.  over  and  in  front  of  the 
B.  F.  Rise  on  both  toes  and  complete  the  right 
turn,  or  about  face  (2).  Abaisser  (drop  heels) 
(3).  Rest  (4).  P racticalltj  the  same  as  Assem- 
ble en  touniaiif. 

Another  form  is  as  follows: — Spring  and  turn  R. 
on  R.  F.  to  4th  Rear  Pos.  (1).  Complete  the 
turn  by  bringing  L.  F.  around  in  front  to  4tli 
Pos.  (face  audience)  (2).  Close  R.  F.  in  3rd 
Rear  Pos.  (3).  Rest  (4).  This  causes  a 
change  of  the  relative  position  of  the  feet  as  in 
Pas  de  Basque.  The  author  prefers  this  defini- 
tion. 

40.  Assemble    Soufeiius    en-    touriiaiif    (ahn-sahn-iilay 

suit-tayiiee  an-tour-nant).  Refer  to  the  Pirouette 
on  both  feet. 

41.  As'semble  en  touniaiif. — Raise  R.  F.  to  side,  spring 

and  turn  to  the  right,  and  alight  on  both  feet 
(crossed),  L.  F.  over  the  R.  F.  (Double  Crossed 
Pos.)  (1).  Complete  the  turn  on  the  Demi 
Pointes  and  in  so  doing,  the  R.  F.  comes  in  front 
again,  when  facing  the  audience  (2).  Abaisser 
(3).    Rest  (4). 

42.  Tire  Bouehoii  (corkscrew).     Spring  R.  F.  to  side, 

with  L.  F.  raised  straight  to  side  (1).  Bring  L. 
F.  smartly  in  front  of  knee  of  right  leg:  at  same 
time  turn  on  l)all  of  R.  F.  to  the  right  (2).  Finish 
the  turn  face  front,  with  L.  F.  crossed  in  back 
of  right  knee  (3).     Drop  L.  F.  (4). 

43.  Pii'oueffe  eii  VA'ir. — Same  as  Tour  en  I'air.   BiroUa 

or  roJia. 

44.  Sphi  Tuni.~  'Vwvw  ([nicklx-  on  the  toe  with  the  other 

foot  I'aised  close  in  l)ack  of  supporting  knee.  The 


124 

spinning"  or  tinning  is  clone  with  a  quick  move- 
ment of  the  arms  from  one  side  to  the  other,  in 
the  direction  of  the  tnin.  Several  turns  can  be 
made  in  this  ])osition,  it'  necessary. 

45.  Sp'ni  Tunt  in  ^irah('.s(iit('. — Phice  yourself  in  Ara- 
besciue  and  Spin-Turn  quicklv  on  sui)porting 
foot. 


ASSEMBLE 


As^^cuihlc,  together,  bringing  the  feet  from  an 
open  to  a  closed  position  (1st,  3rd  or  5tli).  The  Assou- 
hlr  can  be  made  in  any  direction. 

Direction. — Right  foot  in  5tli  x)osilion.  In'iid  and 
at  same  time  slide  (brush)  the  right  foot  with  straight 
leg  into  the  2nd  raised  position  (X).  Spring  upward, 
and  alight  on  both  feet  simultaneously,  in  5th  Pos., 
right  foot  front  (dessus).  This  is  accompanied  by  a 
pliable  bending  of  the  knees  and  is  called  Assemble 
dessus.  If  the  right  foot  is  brought  to  5tli  Kear  Posi- 
tion it  is  termed  Assemble  (lessons.  There  exists  a 
slight  resemblance  between  the  Assemble  and  the 
Cliangemenf  cle  Pied.  The  ditf'erence  is,  that  in  the 
Assemble  one  foot  is  really  more  or  less  passive,  wliile 
in  the  Chcuifiemeiit  dc  Pird  both  feet  are  equally  active. 

Assemble  Porfr;  an  Assemble  to  the  side. 

A  very  niodilied  form  of  an  As.^oiiblr  is  used  in 
Social  Dancing  and  is  sim])lv  a  closing  (ferme)  of  the 
feet.    A  drawing  of  one  foot  to  the  other. 


COUPE 


Coupe,  (ul.  Pas  Coupe,  a  cul  s1e]i.  A  displace- 
ment of  one  fool  by  tlie  other.  A  shar|)  cutting  move- 
ment of  tile  one  loot  |'i(»m  an  open  i)osition,  through 
a  closed  ])ositioii,  into  an  open  ])osition.  The  legs  are 
held  straight  while  cutting,  and  upon  aiiulitini;-,  the  sup- 
porting leg  bent. 


125 

A  Coupe  and  a  Cliassc,  althougli  related,  differ 
slightly.  In  the  Chaste  the  foot  that  is  cut,  or  chased 
away,  takes  the  weight  of  the  body,  while  in  the  Coupe 
the  foot  that  does  the  cutting  takes  the  weight  of  the 
body. 

There  are  three  Coupes:  Coupe  dessus  (over  or  in 
front),  Coupe  dessous  (under  or  in  back),  and  Coupe 
lateral  (side). 

Coupe  dessus.  Eaise  right  foot  front  (X).  Bring 
it  down  smartly  toward  the  left  foot  and  cut  the  same 
(left  foot)  out  of  place  to  the  Rear  Raised  Position  (1). 

Note. — As  the  one  foot  is  brought  doivn  the  other 
is  raised  at  the  same  time  and  same  height. 

Coupe  dessous.  Raise  the  rear  foot  and  cut  the 
front  foot  forward. 

Coupe  lateral.  Raise  foot  to  the  side  and  cut  the 
supporting  foot  to  the  other  side. 

Coupe  Frappe.  The  foot  is  put  down  with  a 
strongly  accented  audible  beat. 

Coupe  Pousse.  Strong  knock  of  the  foot  as  in  the 
second  step  of  the  Mazurka. 

Coupe  Relere.    Same  as  Raised  Rocking  Step. 

Demi  Coupe.  Bend  both  knees  and  extend  the  foot 
to  the  front,  back  or  side.  It  is  the  preparation  of  al- 
most every  artistic  step. 


PAS  BALLOTTE 

Pas  Ballotte.  A  tossing  heic  and  there.  It  consists 
of  a  Coupe  dessus  and  a  Coupe  dessous.  Right  foot 
cuts  the  left  foot  back  (1),  and  the  left  foot  in  I'etum 
cuts  the  right  fool  front. — Klonni-Zoru. 

PAS  DE  zkimukm:. 

Pus  de  ZcpJiiie.  A  ste])  of  the  lightest  possible 
character.    11  consists  of  a  Co}i})e  dessus  and  a  Change 


126 

(Swiiio-Sti'|)).  A  Fouctfr  (whip)  is  sometinics  sub- 
stituted for  a  ('liaiii»-o.  The  foot  that  does  the  Foucttc 
touches  the  iloor  lightly  as  it  passes  the  su})porting 
foot  ill  going  forward.  The  Fouctfr  is  aeeompauied 
with  a  hop  on  the  other  foot.  A  Pas  de  ZcpJiirc  is  also 
(h>ne  with  a  Coiipr  and  a  Tcuips  lUiUointr. 

PAS  TEXDU. 

Pas  Tciidii  (pah  tahn-doo),  practieally  the  same 
as  Pas  de  Zcphirc.  The  leg,  however,  that  is  raised  in 
front  is  held  perfectly  straight. 

ROCKING  STEP. 

This  Boclxiug  Step  is  the  one  in  general  use  and  is 
one  of  the  popular  steps  of  the  Hornpipe.  It  consists 
of  a  series  of  Degages  with  the  knees  directed  to  the 
side.  The  Degages  are  made  with  a  Hglit,  s])ringy 
movement  from  one  foot  to  the  other,  keeping  the  feet 
in  5tli  Po-sition,  toes  pointed  downward,  never  leaving' 
the  floor. 

Directions. — ISining  on  light  foot,  5tli  Position, 
raise  heel  of  left  foot  (in  rear)  (1).  Spring  or  pitch 
on  left  foot  (in  back)  and  raise  heel  of  right  foot  front 
(2).  Re])eat  this,  counting  7,  then  l)ring  left  foot  in 
front  and  hop  on  right  foot  on  8th  (onnt.  Reverse  all. 
Execute  this  same  movement,  turning  to  the  right  and 
left.  Practice  this  movement  with  o  Rocking  Steps, 
then  make  the  change. 

Rocking  Stc])  is  also  called  Pereeau  (ber-so), 
cradle. 

IJAISI^I)  l^'()('KI\(i  STi:!*. 

Pkd'isi-d  H()(l,-iiifi  Step.  A  (h'cidcdly  s))i'iiigy  step 
wilii  bent  knee,  oricii  seen  ill  ('haractei    Dances. 

Directions. — Spring  on  ligiil  foot  in  r)(li  ]N)sition, 
same  time  raise  left  fo(»t  back  (.Itli  K'cai-  Raist-d  I'osi- 
ticm,  2nd  Elevation)  with  knee  hcnl  (  1  ).  Sj)ring  on  h'ft 
foot  (5th  Real'  Posilioii),  and  laisc  right  foot  I'loiit 
(otli  Raise<|  Position,  L'lid  Mlcwilioii)  knee  bent  (2). 
R(  ix'at  ill  all  7  tinn  s,  llicii  briim  tlic  left  foot  I'loiit  and 


127 

hop  on  right  foot  on  the  8th  count.  Repeat  all  with 
left  foot  leading'  ami  in  front.  This  step  can  also  be 
performed  while  turning  to  the  right  with  the  right 
foot  front,  and  to  the  left  with  the  left  foot  front. 

A  very  practical  form  of  the  Raised  Rocking  Step 
is  to  rock  three  times  and  then  change  by  bringing 
other  foot  front  on  the  4th  count. 

A  Raised  Rocking  Step  is  sometimes  called  Coupe 
Releve. 


JETE 

Jete,  throw.  The  Jete  is  related  to  the  leap,  which 
is  part  of  the  run.  It  consists  of  a  leap  in  any  direc- 
tion, which  throws  the  weight  of  the  body  on  the  foot 
that  is  about  to  touch  the  floor.  The  other  foot  is 
usually  more  or  less  lifted  and  placed  back  or  front  of 
the  supporting  foot.  In  the  raised  movement  of  the 
foot  preceding  the  leap,  the  brushing  of  the  foot  over 
the  floor  should  be  carefully  observed.  In  other  words, 
the  foot  actually  glides  with  leg  straight  into  a  Raised 
Position  while  the  supporting  leg  is  bent.  The  free 
foot  is  not  always  placed  in  the  same  position;  it  can 
move  into  any  given  position,  but  it  must  be  placed  into 
the  position  while  in  the  air  preparatory  to  returning 
to  the  floor  on  the  other  foot.  It  can  also  be  placed 
upon  the  floor  with  the  toe  alone  touching  the  same. 
This  is  used  also  in  an  elaborate  courtesy,  which  is 
preceded  by  a  leai)  or  thi-ow  (Jcfr). 

Jrfr  can  be  made  from  both  feet  onto  one  foot  or 
from  one  foot  onto  the  other.     There  are  three  Jvtes: 

Jcfr  (Icssns,  Jcfr  Jrssoiis,  Jrfr  rii  foiirudiif. 

Jete  dessiis.  Si)ring  on  one  foot  with  otiior  foot 
raised  iu  back  at  ankle  of  sn])poi'tii]g  fool.  This  will 
take  you  forward  gradually 

Jrfr  Jcssmis.  S])riiig  on  ihc  one  foot  with  other 
raised  in  fi'oiit.     'i'liis  will  take  yon  backward. 

Jrfc  rii  foiD'iKinf ,  see  Turns. 


128 


Jeie  Sauic.    Jctv  ami  hop  on  llio  snppoitiii.u-  fool. 

Jcte  Cross  Pass.  Jvtv  aiul  Cross  Pass.  In  the 
Jetc  dessus  the  Cross  Pass  is  done  in  front,  and  in  the 
Jete  dessous  the  Ci'oss  Pass  is  in  back.  A  hop  should 
accompany  the  Cross  Pass.  This  makes  a  very  brilliant 
stei)  while  tnrninii,'  to  the  right  or  left. 

Jctr  and  Tiro  Cross  Passes  iritli  JIaiscd  Extension. 
Jetc,  then  Tiro  Cross  Passes,  and  extend  free  foot 
diagonally  forward  (raised)  with  a  hop  on  supporting- 
foot. 


Mathilda  WLhr,  New  York,  "Spring  Song." 


PAS  DE  BASQUE 

Hhythm  3  4  Valse. 

Pos  (Ic  ll(ts(iii('  (|tah  (Ut  bahsk).  The  step  of 
Basque,  one  of  the  most  jjojjuhir  stejjs,  which  has  many 
variations,  and  is  seen  in  the  National  Dance  of  almost 
every  nation  (S])anish,  Russian,  Polish,  Hungarian, 
Scotch,  Irish,  etc.),  eacli  of  which  has  its  own  ])articu- 
Jar  character.  The  foundation  of  the  Pas  dc  Bas(in('  is 
as  follows:  Right  foot  describes  an  ontwaid  scnii-cii'cle 


129 

into  the  2ii(l  Position  (Demi  Roiid  df  Jamhe  dehors  a 
frrrr),  (1).  Olissc'  (glide)  left  foot  to  4th  Position, 
passing'  the  1st,  3rd  and  5th  Positions  (2).  Close  right 
foot  in  3rd  Rear  Position  (3).  Repeat  with  other  foot 
one  Measnre.  In  repeating  this  movement  the  dancer 
moves  gradually  forward.  It  is  therefore  termed  Glisse 
Pas  de  Basque  Forward  and  it  should  be  performed  with 
a  smooth,  gliding  style. 

Glisse  Pas  de  Basque  Baekuard.  Glide  right  foot 
to  2nd  Position  (1).  Left  foot  to  4th  Rear  Position  (2). 
Right  foot  to  3rd  Position  (3). 

Jete  Pas  de  Bascpie,  is  virtually  the  most  popular 
form.  It  starts  with  a  Jete  dessous  right  foot  (bound 
to  the  side  right  foot  in  2nd  Position,  and  left  foot 
raised  in  front),  (1).  Glisse  left  foot  to  4th  Position  (2). 
Right  foot  to  3rd  Rear  Position  (3).  The  Jeie  Pas  de 
Basque  Baekward  starts  with  a  r/ete  dessus  and  the 
ether  foot  moves  to  4th  Rear  Position. 

Pas  de  Basciue  en  Toun/aut,  see  under  Turns. 

Pas  de  Basque  Espaguole  (Spanish).  A  Pas  de 
Basciue  in  Spanish  Style,  (hie  arm  Akimbo,  other  in 
4th  Position. 

Pas  de  Basque  Beleve,  or  Polish.  Feet  raised  very 
high,  one  as  high  as  the  other,  as  if  jumping-  over  a  line 
to  the  side. 

Pas  de  Basque  Russe  (Russian).  Spring-  right  foot 
to  2nd  Position  (1).  Toe  of  left  foot  is  brought  for- 
waid  (toes  turned  inward),  (X).  Turn  the  left  foot 
outward  (Torfille)  and  place  heel  on  floor  (2),  with  a 
slight  ti'ansfer  of  weight.  Again  transfer  weig-ht  onto 
right  foot,  ill  back  (3).     Arms  folded. 

Pas  de  Basque  Scotch ,  in  2  4  Rhythm.  Spi'ing  right 
foot  to  2nd  Position  (1).  Ta])  left  foot  front,  straight 
leg-,  very  siia])])y  (X),  slight  weight  on  same.  Return 
weight  to  right  foot  (2).  Arms  in  4tli  Position  through- 
out. This  ste])  can  also  lie  ])erfoi'med  turning  and  mov 
ing  progressively  around  in  a  large  circle. 


130 

Pas  de  Basque  Irish,  in  G  8  Khythin.  Fiacli  step 
is  preceded  by  a  decided  raise  of  the  fool  ;  l)eiid  the 
knees  to  the  side  and  mak(>  thi'  eiitii-e  eoniliiiiation  very 
springy  and  spriglitly.    Arms  Akiniho. 

Pas  dc  Bas(iH('  Iliiinini'iau,  same  as  K'lissiaii  /*(/.s'  dc 
Basque.    One  hand  in  back  of  neck,  other  Akiml)o. 


PAS  DE  BOURREE 

Pas  de  Boutree  is  the  step  of  an  old  French  Dance. 
Literally  sjieaking-  Pas  de  Bourree  is  a  stuffing  step, 
crowding  a  number  of  steps  to  music.  It  consists  of  3 
movements  which  adapt  themselves  in  manifold  forms. 
It  invariably  begins  and  ends  with  a  Coupe.  The  first 
2  steps  are  done  witli  straight  legs,  but  in  .'bd  step  the 
supporting  leg  is  bent,  while  the  other  is  extended 
straight  to  the  side. 

Pas  de  Bourrer  is  the  step  Ihat  liegins  with  the  one 
foot  and  takes  the  (bincer  in  the  opposite  dii'eetion. 

Pas  de  Bourree  Lateral,  is  the  most  poi)ular  form 
and  is  also  called  Pas  de  Bourree  Mode-nie.  In  other 
words,  it  is  Pas  de  Bourree  latereaux  dessus  d  des- 
sous. 

Raise  right  foot  to  side,  cut  {Coupe)  through  the 
3rd  Position,  raising  left  foot  to  2nd  Position  (1 ).  Left 
foot  in  Demi  2nd  Position  (X).  Hright  foot  in  thii'd  and 
cut  (Coupe)  left  foot  to  side  (2).  Hepeat  all  with  left 
foot. 

This  is  called  Pas  de  Bourree  Lafer(d  dessus  and 
by  several  repetitions  the  dancer  gradually  moves  for- 
ward by  bringing  the  raised  foot  in  l)ack  (3rd  Rear 
Position)  the  dancei'  moves  liackwaid.  it  can  also  l>e 
done  through  the  r)th  I'osition. 

A  Pas  de  Bourrrt   thiough  the  1st  position  as  pel* 
formed  by  the  ilungaiians  and  Russians  is  done  sur  la 
jdaec.    1'his  is  called  pas  dc  Bourrrc  cii  Broiilcrf. 

Pas  de  Bourrrc  Furnard  and  Backward .  ("nlting 
through  the  3r<l  I'osilioii  fi-om  the  front.  l>*ii;lit  foot 
Cdupc  dessous  (1),  l<'ft  foot  to  Ocmi  4tli  Uaw  Position 


131 

(X),  again  right  foot  Coupe  dessous  {'!).  Then  left 
foot  Coupe  dessous  (1),  right  foot  in  Demi  4th  Position 
(A),  again  left  foot  Coupe  dessous  (2). 

Pas  de  Bouiree  Renverse,  is  like  an  Upset  Tuiu 
Kaise  right  foot  back,  bring  it  aroniid  in  front,  cross- 
ing lett  toot  m  back  and  turn  quicklv  to  the  right  with 
3  light  stamping  steps. 

Pas  de  Bourree  dessous  eii  tournaiit,  is  similar  to 
a_^Pas  Marclie  Turn  and  consists  of  a  Coupe,  Pose  and 
Join. 

Pas  de  Bourree  ouverts.—^iixvt  with  rear  left  foot 
and  move  It  to  2nd  Position  (X),  right  foot  to  5th  Posi- 
tion (XX),  left  foot  in  double  2nd  Position  (1)  Ara- 
besque on  left  foot  (2). 


FOUETTE 

Foiiefte  is  the  action  of  the  leg  which  makes  a 
rapid  whip-Uke  movement.  This  is  produced  by  the 
lower  leg,  the  upper  leg  remaining  motionless  "  The 
j'ouetfe  takes  different  forms;  the  most  popular  is  as 
follows:  Right  foot  in  5tli  Position  Plie  and  spring  on 
lett  foot,  same  time  raising  right  foot  to  side  (straight 
leg),  (1).  Hop  on  left  foot  while  the  right  foot  crosses 
m  back  or  front  of  left  knee  (2).  It  is  the  2nd  and  3rd 
steps  of  the  Mazurka. 

Demi  Foueffe.    Eaise    leg    with    knee    l)ent,    then 
straigliten  leg  in  any  direction. 

(iraud  Foueffe.     See  (iraud  Baffeuieuf  Foueffe. 


PAS  DE  MAZURKA 

Pas  de  Mazurka.  3  4  Klixlhm.  Glide  right  foot  to 
2iid  Position  (1),  left  foot  Coupe  Laferaf'  {'!).  Hop 
on  left  foot  and  Foueffe  right  foot  liack  (3). 

I'oflui  Mdzurfui.  3,  4  Khytlmi,  con.sists  of  two  parts. 
First  Pari  is  the  Mazurka,  as  picviously  described,  and 


132 

2nd  Part  is  the  Rodowa  Tiiniiiii;',  wliicli   is  a  (-liaiiiio 
Step.     Sto]),  Closo,  and  Ste]). 

/\>//.s7/  Mazurka.— A  Batlii  on  the  lirsl  connt. 
[Spring  n]),  raise  the  right  toot  to  the  side  and  strike 
l)oth  lu'els  togetlu'r  in  the  air  and  alight  on  tlie  left 
toot  (1)J.  Ste])  to  2nd  j.osition  with  I'ight  foot  (2)  and 
join  left  foot  with  right  foot  in  3rd  Kear  Position  (3). 

Pas  PoJoiiaisc,  same  as  Polish  IMaznika,  and  is  also 
known  as  Ciiui)  dc  TaJoii  ( l\oo-de-Tahloii )  ;  sti  iking  of 
the  heels  together. 


GRAND  ELEVATION 

(hand  Elerafioii  is  the  height  attained  in  si)ring- 
ing  movements,  used  in  tlie  (lianf/fUKiit  dc  Pied, 
Ecartv,  Euticchat,  (dc.  The  power  of  the  spring  must 
come  from  the  legs  and  feet  only.  While  in  mid-air 
the  toes  must  be  pointed  downward,  and  the  legs  held 
straight  except  when  otherwise  mentioned. 

('hanffcHiciif  dc  Pled  (shahnj-mahn  der  pee-ay)  or 
CliaiificDiiut  dc  Jauihc  are  piactically  one  and  the  same 
thing.  It  means  changing  the  relative  position  of  the 
feet  or  legs  during  the  elevation. 

Spring  upward,  toes  })()inted  downward.  Change 
the  relative  i)osition  of  the  feet  and  when  alighting, 
lower  the  heels  to  the  Hoor.  Start  from  5tli  Position 
(I'iglit  foot  fi'ont),and  alight  witli  left  foot  in  ."ith  Posi- 
tion. 

Juliappc.  S})i"ing  fi'oni  a  (Moscd  I'osilion  and 
alight  on  both  feet  in  ( )pen  i'osition  (gciiciallx-  Double 
2nd  IN)sition  ). 

Ecliappc  dc  Pnhitcs.  Slight  PVic  and  (Jlide  both 
feet  rapidly  into  DoubU'  2iid  Position  on  the  toes,  both 
leii-s  stiff. 


T'Jcai  Ic.  Si)i'ing  or  (Iraiid  Elevation,  s])reading  the 
feet  apaii  1o  the  side  in  niid-aii',  and  alight  in  ( 1osed 
I'osition. 


133 

Soiihrcsaut  (soo-br-so).  Grand  Elevatloit,  and 
wliile  ill  the  air  bend  both  knees  with  soles  of  feet  to- 
getlier  and  under  body.  Practically  speakino-,  this  is  a 
Plie  in  the  air. 


SISSONNE 


Sisso)uie  (sis-sonn)  ov  Ciseaux  (see-so). — ^Scissors. 
The  legs  resemble  the  opening  and  closing  of  a  pair  of 
scissors. 

Eight  foot  in  5tli  Position,  Pli6  (X).  Spring  right 
foot  in  2nd  Position,  same  time  extend  left  foot  to  2nd 
Raised  Position  (1).  The  left  foot  reaches  the  highest 
point  at  the  same  time  the  right  foot  alights.  Lower 
the  left  foot  to  5th  Position  (front)  (2).  This  is  called 
Pas  de  Sissuuue  dessus.  If  the  left  foot  is  put  down  in 
back  of  the  right,  it  is  Pas  de  Sissoune  dessous. 

Pas  de  SissoiH/r  Double. — P//r  in  5th  Position  (1 ). 
Spring  upward  and  alight  on  both  feet  in  5th  Point 
Position  (2).  Spring  again  and  alight  on  left  foot  with 
right  foot  raised  in  2iid  Raised  Position  (3).  Lower 
the  right  foot  to  5th  Position  {dcssiis  or  dessous). 

If  the  weight  rests  upon  both  feet  on  the  first  syl- 
lable and  uijon  only  one  foot  on  the  second  syllable,  it  is 
a  step  and  called  Pas  de  Sissoin/e.  But  if"  the  weight 
remains  upon  tlie  same  supi)ort  during  both  music  syL 
lables  it  is  called  Tcwps  de  Sissoiiue. 

A  very  effective  combination  consists  of  a  Sissoiiite 
(1),  Coupe  Lateral  (2),  Asseuible  dessous  (3).  Repeat 
all  or  Reverse  it. 


AILES  DE  PIGEON 

(ale  der  jji/Jiyon) 

(lra]id  hlcrafioii  (hiring  which  the  calf  of  the  right 
leg  locals  against  tlie  left,  after  which  the  legs  are 
crossed  in  the  air  as  in  tlie  Brise.  Alight  on  right  foot 
witli  left  leg  raised  to  side,  in  readiness  for  a  re{)i'titi()ii 
of  the  step  upon  the  other  foot. — Zorn. 


134 

A  very  simplified  form  of  the  AUcs  dc  p'u/eoi  is  as 
follows:  H.  F.  across  L.  F.  (1).  Raise  L.  F.  straii^'lit  to 
side  oi'd.  Eh' rat  ion  (X),  spriii"'  from  K.  F.  and  strike 
both  heels  tog-ether  (to  the  side)  with  straig'ht  legs 
{battu)  (XX)^\lioht  on  K.  F.  with  L.  F,  raised  straight 
to  side  again,  ord.     Elevation  (2). 


CABRIOLE 


Cabriole. — Both  feet  in  the  air,  holh  beat  rapidly, 
separating  and  coming  together.  There  are  two  kinds — 
off  two  feet  and  oif  one  foot.  Tn  all  CahrioJes  straight 
legs  and  good  Elc ration  are  essential.  Practice  at  the 
Bar  as  follows :  Keep  right  foot  raised  in  front,  spring- 
on  left  foot  and  strike  it  against  the  right  foot,  which 
remains  at  the  same  height.  This  can  also  be  prac- 
ticed with  the  rear  foot  raised.  After  this  has  been 
mastered,  turn  while  executing  the  same  movement. 
All  Cahrioles  to  the  side  or  Cabriole  Foiictte  are  usu- 
ally preceded  by  a  Dctui  Coiitrcfonp.s  or  (Hissade. 

Cabriole  Fouette  en  toiunant. — One  of  the  most 
brilliant  turns  in  dancing,  performed  usually  by  the 
man.  Step  on  right  foot  to  4th  Rear  Position.  Wliip 
left  foot  across  in  front  (straight  leg)  in  the  air  (face 
U])  stage)  (1).  Spring  on  right  foot,  beat  the  legs  to 
gether  and  same  time  turn  in  the  air  about  face,  alight- 
ing on  right  fooi  with  left  foot  still  raised  in  back. 

This  can  be  terminated  with  a  (ilissade  as  seen  in 
Si),'niish  Dances. 


PLANE 


Planv,  soaring,  ai)i)lies  to  sucli  movements  as 
Temps  dc  hnif/c  {anfid)  re])i-esenting  an  angel  (lying, 
and  'I'cinps  dc  Poissoii  (fish),  a  (ish  aseeiidini:'  to  the 
sui  face  of  the  watei'.  Tcnijis  dc  (-(die.  Jnni])  fi'oni  both 
f(  et  and  conti'act  ;dl  the  muscles  in  mid  air.  'I'lie  body 
nnisl  he  (h'ci(h'(II\-  ciiix'e*!  (hiring  the  (iraiid  /'Hcral mn, 
and  the  daiicei-  shouhl  appear  as  if  actuall\'  ll>ing.  Try 
to  remain  stationarv  in  the  air  for  a  second. 


N 


135 


TEMPS  (PAS)  DE  CUISSE 

Cuisse  (koo-iss)  pas  and  temps.  The  word  Cu'isse 
means  the  thigh.  Preparation— L.  F.  raised  to  side. 
Bend  right  leg  while  L.  F.  beats  floor  audibly  Avitli  the 
tip  in  2nd  Pos.  Hop  on  R.  F.,  and  L.  F.  is  put  down 
again  in  2nd  Pos.  and  drawn  audibly  into  5th  Pos. 
(front  or  back). — Klemm-Zorii. 

When  several  are  made  in  the  same  direction  (no 
transfer)  it  is  called  Temps  de  Cuisse;  but  when  alter- 
nating feet  are  used  and  a  derjar/e  must  be  made,  it  is  a 
Pas  de  Civisse. 

Temps  de  Cuisse.  Raise  rear  L.  F.  Join  in  rear. 
Spring  on  R.  F.,  in  Arabesque  and  join  L.  F.  in  rear 
again. — Browning. 


CONTRETEMPS 

Coiifiefcutps,  means  "an  accident."  In  music 
''syncopation."  It  consists  of  several  movements.  A 
ver}-^  simple  form  is  as  follows:  L.  F.  in  4th  Position. 
Bend  left  knee.  Hop  on  L.  F.  and  simultaneously 
cany  R.  F.  forward. 

Another  form — L.  F.  in  4th  Pos.  Bend  and  Hop 
on  L.  F.  C'dVYY  R.  F.  to  2nd  Position  and  L.  F.  imme- 
diately to  oth  Rear  Pos. 

Coiificfciiijjs  dessKs. — The  free  foot  is  crossed  first 
in  rear,  then  in  front  in  time  to  the  nuisic. 

Conirefeiiips  Battus. — Beat  one  leg  against  tlie 
other. 

Demi  Coufrcfetnps. — Stand  in  2nd  Position.  Free 
foot  is  carried  to  Closed  Raised  Position,  tlien  into  an 
()])eii  one  and  again  tonchcs  the  su])])orling  leg,  eitlier 
back  or  front  or  front  and  back,  in  Ch)sed  Raised  Posi- 
tion, but  does  iiof  reecirc  fJic  iiciaJif.  There  is  a  simi- 
larity between  the  Demi  Coiif icfoHps  and  the  Brise. 


136 

111  the  former  the  beatiiii>-  is  usually  added  to  finish  a 
movement  and  in  the  latter  the  step  bei>,ins  with  the 
beatinu'. 

Coiifr(f(iHj)s  ciitirr. — 1\.  F.  in  oth  Pos.  Hop  on  L. 
F.  and  i;lide  l\.  F.  to  side  and  (l('(/a(/r.  Then  exeeute  a 
(Iciiii  Coiilrcfcmps. 


ENTRECHAT 


Entrechat  is  taken  from  the  Italian  word  ciitrcc- 
clare,  to  weave  or  braid.  Literally  speakiiiii,'  it  is  a 
leaping  movement,  during  which  the  feet  are  repeatedly 
crossed  and  recrossed  in  midair.  It  is  preceded  by  a 
bend  which  prepares  for  tlie  leap.  In  the  crossing 
the  legs  are  held  straight  witli  toes  pointed  downward 
and  l)(;tli  feet  co-operate  in  the  extension  of  this  move- 
ment. 

Entrechat  is  counted  by  the  number  of  segments 
of  broken  lines,  which  are  called  cuts, — Three  Cuts, 
Four  Cuts,  etc.  The  number  is  limited  only  by  the 
skill  of  the  dancer;  however,  six  cuts  arc  considered 
quite  sufficient. 

Entrechats  are  divided  into  two  sections,  the  even 
numbers  2-4-6-8  and  the  odd  mimbers  3-5-7.  The  former 
are  terminated  on  both  feel  and  the  latter  on  one  foot. 

The  r)tli  Position  is  the  most  eifectivc  in  which  to 
make  the  crosses. 

Entrechats,  the  Pirouettes  and  lir'ise  belong  in  the 
category  of  Advanced  Techni(pi('. 

In  descrilnng  the  execution  of  the  Eiil nclial ,  the 
words  Cross  and  ('hai/f/c  will  be  used.  ('ri>ss  means 
that  during  tlie  h'ap  the  ICct  are  crossed  consi(h'ral)ly 
more  (still  retainiiig  their  oi-ii;inal  ])osition,  the  same 
foot    front).      Chdiif/c  means  a   cliange  of  liic   ichilive 


137 

position  of  the  feet.  To  Cross  first  before  making-  the 
Cluuific  always  gives  additional  brilliancy  to  the  move- 
ment. 

A  nu'tliod  of  practice  has  been  devised  which  has 
brought  about  good  results  and  is  as  follows :  Be  seated 
on  a  chair  with  leg's  held  out  straight,  feet  together. 
Tie  the  ankles  together  with  a  handkerchief,  just  loose 
enough  to  allow  the  feet  to  cross  and  recross.  Then  be- 
gin your  practice  of  Eufrechnts  with  a  gradual  in- 
creased number  of  crosses  as  rapidly  as  possible.  A 
half  hour  of  this  practice  each  day  will  bring  about 
surprising  results. 

Entrechat  in  two  or  (/  (teiix,  is  a  simple  Chauge- 
7)1  ent  de  pied. 

Entrechat  a  trois  (three)  ends  on  one  foot,  E.  F, 
in  5tli  Pos.  Spring  and  Cross,  then  Change  and  alight 
on  L.  F.  with  R.  F.  raised  in  back. 

Entrechat  a  quatrc  (four). — Feet  open,  close,  open, 
close,  crossing  before  and  behind  during  the  leap. 

Entrechat  a  cinq  (five)  has  three  changes.  Entre- 
chat a  liuit  (eight)  has  four  changes  or  crosses. 


BRISE 


I^rise  (bree-zay).  Small  beatings  or  a  crossing  and 
recrossing  of  the  feet  in  midair,  one  foot  being  more 
active  than  the  other.  In  other  words  one  foot  really 
"beats"  while  the  ther  makes  a  slight  counter  move- 
ment. In  ths  respect  the  Brise  is  unlike  the  Entrecltat 
where  both  feet  are  equally  active.  The  Hrise  can  be 
finished  b_\-  alighting  on  one  or  both  feet.  ()ne  form  of 
Bi-isr  is  as  follows:  l\aise  I..  V.  in  back  spi'ing  and 
l)eat  \j.  F.  in  back  and  in  front  of  R.  F.  (in  the  air). 
Aliglit  ui)on  the  L.  F.  with  R.  F.  still  raised. 


i:^8 


PIROUETTE 

Piroucfir,  from  pied;  the  foot,  and  rourttc;  the 
wheel. 

A  ])c'rt'()rmaiic*e  of  one  or  more  vt'\-olntions  on  the 
toe  or  hall  of  one  foot.  The  miml)er  of  i-evolutions 
made  by  some  artists  is  often  misleadini;',  l)eing  i)er 
formed  with  such  i-apiditv'  that  it  is  almost  impossilile 
to  count  them,  and  credit  is  ot't  i;'iven  for  more  turns 
than  have  actually  been  made. 

A  Pirouette  (I  quatie  tours  (4  turns),  when  Avell 
done,  is  an  indication  of  the  liii>iiest  ability  in  dancing'. 
Perfect  Pirouettes  depend  gTeatly  u])on  the  proper 
placing  of  the  arms,  which  .<>ive  most  of  the  force  neces- 
sary for  the  rotation  of  the  body,  the  remainder  com- 
ing- from  the  r  el  eve  movement  after  the  pJie.  The 
dancer  should  be  very  precise  in  measuring  the  dura- 
tion of  his  ])irouettes,  that  they  may  end  with  the  music. 

There  are  many  forms  of  Pirouettes,  and  nearly 
all  the  positions  of  the  free  leg  may  be  used,  while  the 
active  leg  executes  the  tuiii.  The  ])rincipal  Pirouettes 
are  sur  le  cou-tje-pied  (free  foot  on  the  ankle  of  the  su])- 
porting  foot),  a  ta  secoude  (in  2nd  Kaised  Pos.)  eu  At- 
titude et  Arabesque.  Furthermore  during  the  Pirou- 
ette the  free  leg  may  also  execute  ditferent  movements, 
such  as  Fouefte,  Poud  de  jaruhe,  etc.  Various  combina- 
tions of  movements  which  are  known  as  Pirouettes 
Composees  may  be  formed  b\'  means  of  vai\\ing  the 
carriage  of  the  nppei'  paii  of  the  body  and  anns  b\- 
changing  the  occupation  of  the  Tree  leg  in  transit  and 
])y  ending  the  piroue'tr  in  dirferent  forms.  Pirouettes 
ai-e  in  '1  classes  according  to  the  dii-ection  of  the  turn. 
'IMiey  are  called  Pirouette  eu  Dehors  (onlwai-d)  and 
Pirouette  eu  Pcdaus  (inward).  The  former  is  tiie  most 
|,(.|)iihM-  and  is  the  Iniii  1(.\\ard  the  side  of  liie  free  foot, 
and  the  latter  is  the  turn  towai'd  the  suppoi-ting  foot. 


139 

Pirouette  snr  le  con-de-pied  (dehors).  Start  R.  F. 
in  3rd  Pos.  Rise  on  Demi  Point  of  L.  F.  and  raise  R. 
F.  front  on  ankle  of  L.  F.  (X).  Place  R.  F.  in  2nd  Pos., 
and  make  a  Plie  in  Double  2nd  Pos.,  arms  in  Left  Lat- 
eral Position  (1).  Rise  again  on  Demi  Point  of  L.  F. 
and  make  a  quick  complete  turn  toward  the  right  by 
bringing  the  arms  forcibly  across  the  body  toward  the 
right  side  (2).  Place  R.  F.  in  back  in  3rd  Rear  Pos. 
(3).  This  turn  effects  a  changement  of  the  feet  as  it 
starts  with  R.  F.  front  and  ends  with  it  in  back. 

Pirouette  a  la  secoude  or  Grande  Pirouette.  Plie 
on  L.  F.  and  raise  R.  F.  to  2nd  Raised  Pos.  (stretched). 
Turn  on  Demi  Point  of  L.  F.  maintaining  position  of 
the  R.  F. 

Pirouette  eii  Attitude  et  Arabesque.— A  Grande 
Pirouette  ending  in  Attitude  or  Arabesque. 

Pirouette  with  Roiid  de  jambe.— The  free  foot  exe- 
cutes rond  de  jambes  en  Pair  while  the  bodv  turns. 


OLDEST  NORMAL  SCHOOL   OF   DANCING   IN   AMERICA. 


Professor   Charles   Newman. 
Rorn    in    Wicshadcn.    (uM-niany,    ISXi;    died    1921.      Founder    of 
tlie    Newman    .\,„n,al    School    of    DancinR    1856.      Reorganized 
and     Kstalihshcl     as     a     National      Instilntin,,      in     1890,     by 
.Allirrt    W  .    ,\tu man. 


140 


MISCELLANEOUS 


Tcuii)s   de   Son  flic.     Strike   llie   soles   of  feet   to- 
getlier  during  a  leap  (a  character  step). 

Tcttips  (Jc   Tdloiis.     Strike  heels  toilet  her  in  mid- 


air 


Tcinps  (Ir  Volutes.    Toe  work. 

Temps  dc  FIcchc  {(irroir).  Consists  of  a  DcrcJ- 
oppe  with  each  leg,  but  the  '2ud  Dcrclopj)^  must  pass 
with  the  swiftness  of  an  arrow  in  an  ni)war(l  (light,  he- 
fore  the  other  leg  alights  which  has  previously  per- 
formed the  tirst  movement. 

Passe  la  jam  be.  The  passing  of  the  leg  from  a 
4th.  Kaised  Position  (Through  1st  Pos.)  into  the  4th. 
Rear  Raised  Pos. 

Pose.  A  pose  on  stiff  leg  with  transfer  of  weight 
preceded  by  a  small  Dcvclopiu'. 

Elevc  Traccrsr.  Toe  steps  to  side.  1\.  F.  to  side, 
L.  F.  3rd  Rear  Pos.    Keep  legs  together  and  straight, 

the  action  of  the  stepi)ing  to  come  from  the  hips. 

Cossack  Step.    See  Pas  Rustique. 

Polonaise.  A  stately  promenade  or  (irand  March, 
used  at  the  o|)eiiing  of  a  Hall. 

Canter  or  (ifdiop.  Imitating  the  gallop  of  a  horse. 
Feet  together.  i>i,uht  s])rin,u-  on  R.  V.  (X).  Come  down 
on   !>.   I*\   front    (  1  ).      JH'pcal    indclinitcix'. 

Trot  (t(  Clicral  (dcf  sher-vahl).  Same  as  i'as 
Rustique. 


141 

Coquette  or  Pleasant  Court  est/.  A  short  plie  ^^^tll 
toe  ill  5tli  Eear  Pos. 

Galop,  is  founded  on  the  Chasse. 

Polka  Polienir.  R.  F.  forward  (1)  L.  F.  close  (X) 
K.  F.  forward  (2).  Raise  L.  F.  front  and  slide  jump 
forward  with  force  on  right  heel  (X). 

Slide  J  urn  p.  An  attempt  at  jumi)iiig  on  one  or 
l)oth  feet,  but  the  heel  only  is  lifted  from  the  floor  and 
comes  down  with  force.  The  ball  of  the  foot  must  re- 
main on  the  floor  while  sliding. 

Pas  tortillr.  An  inward  and  outward  turning,  on 
the  sole  or  heel  of  one  or  both  feit. 

Pas  ctHhoile.  Steps  on  the  Point rs  or  Dcnu 
Poii/tes  from  the  5th  Rear  Pos.  to  the  5tli  (front)  Pos., 
one  foot  passing  the  other  very  closely.  This  is  called 
Pas  emhoite  en  avaut  (forward)  or  dessiis.  For  the  Pas 
emboife  en  arriere  or  (lessons  move  foot  backward. 

Pas  (Ic  Course,    Running  steps. 

Pas  Piisfiqin'.  R.  F.  5th  Pos.  P>riiig  R.  F.  to  5th 
Rear  Pos.,  and  make  a  short  snappy  hop;  raising  L.  F. 
front  at  same  time,  very  close  to  right  leg  (knee  bent). 
Then  repeat  with  L.  F.  This  ste])  should  be  made  very 
crisp.  It  is  also  ( aflcd  ])y  nian>-  Fnglish  Teachers  a 
Su(l1<  Ji  Step, 

Pas  h'oitcdii.r  (i)as  l)wah-to).  Lame  or  limping 
step.  Ilo).  on  L.  F.  (X).  U.  F.  in  4th  Pos.  (1).  Slep 
rorwaid  on   Jj.  F.  to  4tli   Pos.   (wiioh'  step)    (_M. 

Pas  saiitr.     A   ho])  ste]). 


142 

Pas  <h'  Miinicf  (to  ri.ulil  ).  (Nniiit  (i  to  two  measures 
of  the  imisie.  1\.  K.  i)oiiit  to  '2\h\  Vos.  (1).  Raise  left 
heel  and  ti-aiisl'er  wei-ht  to  K'.  V\  {'2).  Plir  K.  F.  and 
glide  L.  F.  to  .Itli  I\ear  l*os.  (o).  Transfer  \\'eii!,lit  to 
L.  F.  (4).  (Mide  R.  F.  to  'Jnd  Pos.,  and  transfer  (5). 
Glide  L.  F.  to  5th  Rear  Pos.,  and  transfer  (G). 

Pas  dc  Mill  net  (fonvard).  Pre])aration.  "R.  F.  in 
2nd  Pos.  K.  F.  to  4tli  L*os.  with  transi'ei'  (1).  Kaise 
right  heel  and  glide  L.  F.  to  ord  Rear  and  into  2nd 
Kaised  Pos.  (2),  Lower  right  heel  and  F.  V\  into  '.Ud 
Rear  Pos.  (.")).  Glide  L.  F.  to  1st  Pos.  with  transfer 
(4).  R.  F.  to  4th  Pos.  and  transfer  (.")).  Glide  F.  F.  to 
Ist  Pos,  and  transfer  (G). 

Pas  cle  Minuet  (Modern).  Practically  a  Change 
Stej).  It  is  the  step  that  is  generally  done  in  all  Min- 
uets today.    A  step,  close,  ste}). 

Pas  Ritsse.  See  Pas  dc  Basiinc 

Pas  Thdloitc.     Three  Coiijirs  and  a  Foiicffc. 

Pas  de  Flcurs.     A  lloral  dance. 

Pas  dc  Soldaic.     A  niihtary  dance. 

Pas  de  ChevaJ.  Spring  on  R.  F.  and  make  a  quick 
Developpc  forward  with  left  leg,  counting  oiu'.  The 
raised  foot  reaches  its  iiigiiest  i)oint  at  tiie  same  time 
other  foot   alights. 

P<is  dc  Chcral  (i)awing).  Standing  still  on  one 
foot  while  other  foot  executes  a  innnhcr  oi  Developpcs, 
always  touching  the  lloor  with  the  jjoint  in  retuiiiing. 
This  step  is  to  imitate  the  horse  i)awing  the  ground. 

Pas  dc  <iii<il  i( .     \  dance  for  four. 


143 

Pas  oi-dhia'nc.     ]\rai'cliiiig:. 

/V/.s-  (h'  h'iiidiifh)!/.  Same  as  Pas  dc  Sissouiie 
Douhlf.    A  step  used  in  tlie  Kigaudoii. 

Pas  dv  riioliihiec  or  Halopic.  3/4  Ehythm  (Ma- 
zurka). Polish  Tiuning  Step.  Plie  in  1st  Pos.  (1). 
Extend  L.  F.  to  side  raised  (2),  and  turn  on  R.  F.  with 
L.  F.  extended  (3).    Repeat  ahvays  turning. 

Pas  fonihr.     A  i)iteh  in  Attitude. 

Pas  de  Parfhu'ui's  (pah-te-ner).  A  skating  Step. 
Arms  folded.  (Hide  obliquely  forY\*ard  on  R.  F.  and 
raise  L.  F.  in  hack.  This  is  generally  followed  with 
one  or  moi-e  ho])s  on  the  supporting  foot. 

Pas  de  Nagc.  Swimming  Step  PUe.  Glide  R.  F. 
to  4th  Pos.,  (1).  Hop  on  R.  F.  and  raise  L.  F.  in  back 
(2).  Hop  again  on  R.  F.  crossing  L.  F.  in  rear  of  R. 
F.  (3).  Place  L.  F.  3rd  Rear  Pos.,  (1).  Hop  on  L.  F. 
raise  R.  F.  front  (2).  Assemble  R.  F.  rear  of  L.  F.  (3). 
"SMiile  making  the  Plic  place  hands  together  and  extend 
them  forward  from  the  shoulder,  then  separate  them 
into  3rd  Extended  Position  as  if  swimming. 

A  more  simplified  form  is  Glide  forAvard  on  R.  F. 
with  L.  F.  raised  in  back,  arms  taking  tlie  breast  stroke, 
as  in  swrnming. 

I'ds  de  Coiinuifc.  Step  of  (he  (/ouraiiie.  R.  F. 
in  4tli  Pos.  Glide  1..  F.  to  oth  Rear  Pos.,  (1).  To  2nd 
Pos.,  (2).  To  1st  and  then  to  3rd  Positions,  (3).  PUv 
on  R.  F.  and  glide  L.  F.  to  4th  Pos.,  and  transfer 
weight  (4).  Pas  de  (Uniraiih-  takes  in  all  of  the  Five 
Fmidamenial  Positions,  through  3  movements,  in  4 
counts.     Slow  Tem])o. 


U4 


Sjnicopafcd  Walk.  A  t*()inl)ination  of  stcjis  which 
is  fr(,'([m'iitl\'  used  but  t'lToiiconsly  tormcd.  it  is  in 
reality  a  Pds  Iloitcdti.r  witlidiil  the  lio]),  iiixiii^'  two 
counts  for  tlu'  iirst  stop.  The  SyiKoi)ated  Walk  can 
be  taken  in  any  direction,  usually  forward  and  consists 
of  two  walking-  steps  which  are  slii>htly  shaded.  R.  F. 
foiward  risiiii;'  on  ball  of  foot  (1)  (1^),  1..  F.  forward 
with  a  decided  l)end  of  the  left  knee  (."5).  l^sually  a 
Synco]iated  AValk  ])recedes  an  Arabesque. 


Ballet  in  the  Opera  of  Martha,  Academy  of  Music. 
Albert  W.  Newman,  Ballet  Master. 


145 


INDEX 


Page 
A. 

Abaisse  or  Abaisser,  36 

Abaissement 36 

Academie    36 

Academie    do    Daiise, 

Paris    16 

A  coin  36 

A  cote  36 

Action   36 

Adage    36 

A  droit   36 

Advice  to  the  Begin- 
ner     1) 

Advice  to  Young 

Teachers 12 

Aestlietic  Dancing   .  .  25 

A  gauclie 36 

Ailes  de  pigeon.  .  .'.]6,  133 

Akim])o   36 

A  la  fin 36 

Alle   36,  92 

Allegretto 20 

Allegro    20 

Allemande 36 

Allonge   or   AUonger,  36 

Alternatif 37 

Angle  Aral)es(ine  ....  11-4 

Aplomb   ?)1 

Aial)es(iue   .'57,  113 

Arabasqne  llo])  'I'nni,  121 

Arms    33,  71 


Page 

Arm  Movements  ....  33 

Arm  Positions 74 

Arpegio   20 

Arriere    37 

Arrondi  37 

Assemble   37,  124 

Assemble     en     tonr- 

nant   123 

Assemble  soutenus  en 

tournant   iKi,  123 

A  temps 37 

A  terre   37 

Athletic   Dancing   ...  25 

Attitude    37,  111 

Avant 37 

Avant  bras 37 

Avant  Deux  ;j7 

Avec 37 

A  vos  place  37 

B. 

Baisser 37 

BaUance    24 

Balance    37,  98 

Ballet    26,  38 

Ballet  d 'Act ion   38 

I>allon    37 

Balloniir 37,  98 

Balletic 37,   12."),  142 

Iwilli  ooui   I  \'inciiig  ...  17 

Bar ...  51 


14G 


Pago 

l);ir   (ill  music)    2- 

Bas  08 

Basque 38 

Battre    38 

Battu   38 

Battemeiit   38 

Battemc'iit   (Grands),  8G 

Battenu'iit  (Petit)  ...  6G 

Berceau    38,  126 

Birth  of  tlie  Dance  .  .  15 

Body  Bending   ...32,  71 

Boiteux 38,  141 

Bond    38 

Bondir 38 

Bound    100 

Bourree    38,  130 

Bow   38 

Bras 38 

Bras  Bas    38 

Brise 38,  137 


C. 

Cabriole  39, 

Cabriole  Turn  ....... 

Canter   

Carre 

Cavalier    

Center  I'rnclice 

Cliaine 

Cliaine  dvs  danics  . .  . 

Change    

Cliangenu  11I    

Changement   de    I  Med, 
Chanire  en  Pair 


134 

123 

140 

39 

y,\) 

52 
;>9 
39 
:59 
3.!) 
132 
39 


Page 

Change  Step   lOi: 

Character  Dancing  ..  17 
Character    of    Move- 
ment    91 

Character  Poses  ....  79 

(Miasse    39,  102 

Chasse  Knsse 102 

Chat 39 

Cheval    39,  140 

Choregraphy    39 

Chute 39 

Cinq 39 

Ciseaux 39,  133 

Ch\ssic  Dancing    ....  25 

(Uassic  Polka 103 

Closed  Positions  ....  39 

(Mosed   Side    IJalniice,  94 

Coda 40 

Col-de-pied   39 

Colle   40,  134 

Comic  Dam  iiig  ...17,  18 

Contredanse   40 

Contretemps   40,  135 

Coquette  Courtesy   .  .  141 

Corps 40 

Coryphee 40 

Cossack  Stei) 140 

Cote   40 

Cotillon   40 

Cou-de-i)i('d    40 

C^)up  dc  talon 40,  132 

Coupe   40,  124 

(  'oupr     l»cl('\<''     125 

Colli'  40 

( "0111  ante 40 


147 


Page 

Courbo  40 

Couroime 40 

Course    40,  141. 

Courtesy 40 

Croise    40 

Cross  Passes 41,  68 

Cross  Pass  Tuiii  ...  122 

Cuisse 41,  135 

D. 

Da  capo 41 

Dais   41 

Dal  segno  41 

Dame   41 

Dance  (The)    7 

Dancing  as  a  Physical 

Culture    " 8 

Dance  Poem    25 

Danseur 41 

Danseuse 41 

Deboites 4L 

Debut  41 

De  cote   41 

Dedans 41 

Deer  Leap   102 

De  face  41 

Degage  or  Do- 

gager 41,  04 

Degagenient   41 

Dehors  41 

Demi    41 

Demi  chain 42 

Demi  Charnclei-  Danc- 

inii'    17 


Page 

Demi  contretemps,  42,  135 

J  )emi  coupe 125 

Demi  couronne 42 

Demi  Pointes 42 

Deroule 42,  119 

Derriere 42 

Descendre   42 

Dessous 42 

Dessus 42 

Detourne 42 

Deux    42 

Deux  temi)s   42 

Devant 42 

Developpe    42,  89 

De  voile   42 

Different    Kinds   of 

Dancing 17 

Divertissement   . .  .  26,  42 

Dos-a-Dos 42 

Double   42 

Double  Cross  Turn  .  .  120 

Droite    42 

Duo 42 

E. 

Ecarte  42,  132 

Echappe 42,  132 

Ecole    43 

Egyptian  Turn    118 

l^lbow   Developments,  81 

Ek'vation    59 

Elevation  43 

Eleve  or  Elever,  43,  70,  98 

Eleve  Traverse 140 


G. 


148 

Paiie  Pau'e 

Emboli e    4o,  141     Force 17 

Emotion -•!     Foreword    '> 

Emotional   Expres-  Foni'tte   44,  87,  131 

sion -1  Fonctte   en   tonrnant,  rjl' 

En  Arriere -!•">  Four  Stop  AValk 

En  Avant -1"»         Turii    119 

Encliainement     ...4:),     i32     Frai)pe    44 

Encore   -1^3     French   Twist    i07 

En  dedans 43     Frotter   44 

En  dehors    -13 

En  I'aii- 43 

Enpassant -1-3 

Ell  premiere 43     ^j.^^^^^^    -j_^^^  ^_^^ 

Entier    43     (j.^^^^.i^^, 44 

En  tonrnant   43     (|.^,.(,tte 44,   10:5 

Entrances -8     (jenonx    44: 

Entre 43     (jii^^ade   44,     95 

Entrechat   43,  130     Qjig^^^    44^     yg 

Epaulement    43     Q^..^^^,^, 04 

E(iniliV)re 43     (}y.^^^^\    44 

Extended  Leap   .....    102  Grand  Elevation  ....    132 

Extensions 43,     60  Gi-and  jete  dessns  en 

toniniil    44,  122 

„  Grand  Fas  dc  iJascine 

en  tournant 123 

Fairv  Tuiii    120  Grands  Battemeiil,  44,   8G 

Fancy  Danciii.i;'   25     Grave    44,     93 

Former    44 


Jl. 


Finale    44 

Fleuret 44 

Flexion    44  I  lall"  open  I  I<>it 'l^ii  11,  120 

Flora   44  llah)pic 143 

Follow  Step i)5  Hand    3:5 

Foiidn    44  Head    32 

Foot  and  tlic  KiKM'  .  .  30  lloj) 44,  98 


149 


Page 
I. 

Interpretative  Arm 

Movements 82 

Interpretative  Dane-  .  . 

iiig    -5 

Irish  Turn   122 


Page 

Measure    22 

Method  of  Practice.  .  16 

Mime   45 

Modified  Polka   103 

Moorish  Turn   121 

Moulinet   45 

Movement IG 

Music  19 


Jambe    45 

Jete 45,  127 

Jete  turne 45,  122 

Jump 100' 


K. 

Knee  and  Foot 


30 


Lateral    45 

La  tete    45 

Leap 100 

Legato 20 

Leopard  Leap   102 

Leve    45,  70 

Leve,  temps   45 

-Lights    l>8 


N. 

^'age  45,  143 

Newman,   Alljert    \\\,  157 
Newanan  Dances  ....  150 
Newman    Enchain- 
ments    97 

0. 

Open  Hop  Turn 120 

Open  Positions 45 

Open  Side  Balance  .  .  94 

Open  Turn 45 

Open    Turn    on    One 

Poot 118 

Opposition    35 

Ouveit    45 


M. 

-^•'•liii 45 

Maitre  de  Uallcl   45 

I\rarche    9;j 

i\[azurka    l;}i 


Paddle  Turn   118 

I'antomime 26 

Pas   45 

I 'as  15alh)ll(' 125,  142 

Pas  l)oiteaux 141 


150 


Page 

Pas   riiassi'    lOJ 

Pas  Alio    l)--2 

Pas  Balloinu" 98 

Pas  de  Basque 1-8 

Pas     de     Basciue     eii 

touriiaiit    1-') 

Pas  de  Boiinee loO 

Pas  de  Chat  101 

Pas  de  Cheval 14i' 

Pas  de  Couraute  ....  141] 

Pas  de  Course Ill 

Pas  de  deux 15 

Pas  de  Fleurs 112 

Pas  de  Gavotte     ...  103 

Pas  de  rii(»lnl)iec  ....  113 

Pas  de  Maziiika   ....  l-'H 

Pas  de  Minuet 11"2 

Pas  de  Xage 113 

Pas  de  r*ai  tineuis   .  .  113 

Pas  de  Polka 103 

Pas  de  Quatre 112' 

Pas  de  Rigaudoii  ....  ll.'> 

Pas  de  Sissomie 13:] 

Pas  de  Soldate 112 

Pas  de  Valse 101 

Pas  de  Zrphire 12.") 

Pas  P:iev(' !».^ 

Pas  Emboitr Hi 

Pas  Glisse Do 

Pas  Grave 9:: 

Pas  MarclK' 1);; 

Pas  Ordinaire   113 

Pas  Polonaise   132 

Pas  Russe 112 

Pas  Pusticjuc HI 


Page 

Pas  Saute Ill 

Passe IG 

Passe  la  janibc  .  .  .1(5,  110 

Passepied   16 

Pas  scul 16 

J^as  sur  les 

Ijointes    1(),     !)3 

Pas  Tendu  126 

Pas  Tombe 113 

Pas  Tortille Ill 

Penclie 46 

Pendyl 16 

Petit 16 

Petit  Battemenl    ....     6C) 

Pied   16 

Pique 16 

Pirouette   16,  138 

Pirouette  en  Pair  ...  123 
Pirouette   o  n     b  o  t  li 

feet   117 

Pitch    100 

Pivote  (>]•  Pivoter,  Mi,  118 

Pivote  Reverse    118 

Place    -iG 

PlaiK' l(i,  134 

i'lastic  Poses 109 

Plic  or  Pli.T   M\,     61 

Pointes    16,  !K!,   110 

Point  C^ianges   .  .  .1(5,     96 

Point    ivnisc    97 

Polish  .Ma/inka 132 

Polka   103 

Polka  Bohenic 141 

Polka    Ma/uika    131 

Polonaise Ki,    110 


151 


Page 
Port  de  Bras, 

46,  52,  76,  83,  84 

Porte  or  Porter 46 

Pose    46,  140 

Positions 54 

Positions  en  Pair  .  .4,  47 

Pousse 47 

Practice  of  Dancing  . .  50 

Prelude  47 

Premiere 47 

Presto   20 

Promenade 121 

Q. 

Quadrille   18 

R. 

Kaccourci    47 

Ramasse   47 

Redowa   103 

Relaxation 25 

Releve 47,  88 

Renverse    47,  120 

Repose 25 

Retombe    47 

Retraverse    47 

Reverence 47 

Reverse 47 

Rhythm  and  Tempo.  .  21 

Rhythmic  Arts    21 

Rockini>"  Step   .  .  .  .47,  12G 

Romp  Turn    121 

Ivonde    47 


Page 

Ronds  de  jambe  .  .47,  105 

Rotary  Motion    110 

Roulette    47 

Roulette  Tuin 121 

Round  Dances 18 

Ruer 47 

Rules   50 

Russian  Turn 12l' 

S. 

Saute   48,  99,  141 

Scenery 28 

Scissors  Step 48 

Scotch  Hop  Turn  ...  122 
Serious  Dancing  ....  17 
Shoulder  Movements,     80 

Shoulders   33 

Side  Practice •J'-l,     63 

Sissonne    133 

Slide  Jump 141 

Snatch  Step 141 

Soubersaut    48,  133 

Soutenu 48 

Spin  Turn 48,  123 

S])in  Turn  in  Ara- 
besque   48,  124 

Spiral  Turn   120 

Spring 99 

Stage  Terms 27 

vStay  Turn 48,  122 

Step  Point    i»5 

Step  Raise  9(i 

StrathsiH\v 48,     97 

Strathspey  Turn 122 


152 

Page  Pago 

S^villo•  Stop  Tnni  ...    120     Xorso    ".i',     4s 

Syncopated  Walk  ...    14-1-     Toitille   4S,  141 

Syncopation   -U     Tour 48 

Tour  (le  janibe    49 

rp  Tour  tie  mains    49 

Tour  en  Pair 49,  12:.^ 

Talons  (Temps  de) .  .    140     bourne 49 

Taper 48     .p^^^^^.  ^^^.  ^^i.^^.^, 49 

Technical  Teinis  ....      r.G  Traveling  Turns  ....    119 

Technique 24     traverse 49 

Tempo 22     r^^.^^^  ^1^  Cheval 140 

Temps   48     ^^^^.j^g IK; 

Temps  Ballonne 99  rp  ^^.  ^^     ^  ^  ^,  ^,      ^^-.^j,. 

Temps  de  colle PU         ^urn   49,  119 

Temps  de  euisse  ....  135 
Temps  de  Fleche  ....   140 

Temps  de  lange 134  '-'• 

Temps  de  Pointes  . .  .   140     Tp-beat  20 

Temps  de  Poisson  . .  .  134 
Temps  de  Semelle  ..  .  140 
Temps  de  Sissonne..   133 


V. 


Temps  de  Talons  .  .  .    140     Valse   104 

Temps  leve 48     Vis-a-vis    49 

Tendre  48 

Tendu  (Pas)  48,  120 

Termes  de  danse   ...     48 

Terre  a  terre 48     Walking 92 

TOte   48     Waltz 104 

Theatrical    Dancing.  .      17     Waltz  Position 18 

Thigh  Exercises  .112,  115     Wrist 33 

Three     S  t  e  ])     Walk  Wrist  Exci-cises    80 

Turn   4S,   111) 

Tire  Bouchon 123 

Tomlx'  ()!•  Tom  I  )(■!•,  ''' 

48,    14;i     /('pliire.  Pas  do  .  .49,   125 


153 
JUST  A  FEW  TESTIMONIALS 

J.S.Bowman  Thomas  McDougall  Mrs  R.E.  Jacques  R  E.  Jacques  Mrs  Ruth  Fairgrieve  Harriet 

Pittsburg!)  ^ocictp  for  tlje  SmprobemEnt  of  JBancing 


CRAJG  AND  FORBES  STREETS 

H.  M.  ROBB 

J    V.NCENT  SEXTON  PITTSBURGH.   PA. 

William  Beuchler 
W    B.  Vausmt 


August    1,    1922. 

Mr.  Albert  \'l.   Newman, 
Fuller  Building, 
Philadelphia,  Pa., 

Dear  Sir:- 

The  members  of  our  Society  will  never 
get  through  talking  about  our  first  Annual  Normal 
School  of  which  you  were  principal,  and  I  can  never 
express  in  words  how  grateful  I  am  that  I  was  able 
to  procure  your  services. 

The  Class  v/as  composed  of  teachers  who 
have  taken  work  in  almost  every  Normal  School  in  our 
country,  but  they  join  with  me  in  saying,  your  Ballet 
Technique  and  Dances  are  the  most  finished  they  have 
ever  had. 

We  are  hoping  to  have  you  with  us  again 
next  year. 


Yours  very  truly. 


President. 


154 

]\lKrn()POT.iTAX  Oi'KitA  IIorsK. . 

(\)iii!,iatiilali()iis  upon  the  great  success  of  your 
"Aida  Ballets,"  they  were  most  beautiful  exhiliitions 
of  the  Alt. 

Si  KGKUI  Kl)    BeHRKNS, 

Local  Maiicifjer. 

iMKTROrOLTTAX   OpERA  HoUSE. 

1  liave  staged  many  Operas  in  Fairoix'  as  well  as 
in  America,  but  1  have  never  seen  anything  to  ec^ual 
your  exquisite  conception  of  Grand  Opera  Ballets. 

William  Parry, 

Stage  Manager. 

Chestnut  Street  Theatre. 

I  can  without  flatter}^  say  that  the  general  effect 
of  your  dance  in  "Sweet  Kitty  Belaires"  was  superior 
to  the  original  one  at  the  Belasco  Theatre,  New  York. 

Percy  Winter, 
Stage  Manager. 

B.  F.  Keith  Theatre. 

Upon  your  return  from  l\raine,  please  see  me  re- 
garding i)utting  on  something  during  the  winter. 

Harry  Jordan. 

The  Orpheum  Playkrs,  Park  Theatre. 

After  producing  many  dances  myself,  I  honestly 
say  that  the  "Minuet"  you  created  far  the  most  jirtis- 
tic  effort   1  have  ever  seen. 

Harry  McRae  Webster, 

Stage  Manager. 

I'll  II.ADKM'IIIA   Oi-KIIATIC    SoCIETY. 

Ill  presenting  llic  lii  st  Amateur  fwnh'l  llial  e\'''r 
a|)i)eai'(<l  in  (iraiid  ( )pera,  \<»u  iiave  pi'oved  your  I'iglit 
1o  iaiii\  as  llie  hesl    l)allel    Master  in   America. 

.b)||\     ('I'KIIS, 

Founder  of  riiihi.  Ojxrdt ic  Socicli/. 


155 

Composer  of  "Dances  of  the  Pyrenees"  and  ''Rose  of 
Destiny." 
I  must  toll  you  of  my  approval  and  pleasure  of 
your  work  in  the  "P^aust  Ballet."  Although  I  have 
seen  most  of  those  given  in  Europe  I  have  not  seen 
one  so  artistic.    The  dancers  were  wonderful. 

Celeste  D.  Heckscheb. 

Sphinx  Club,  New  York. 

May  I  add  my  own  expression  of  appreciation  to 
the  warm  welcome  which  the  Sphinx  Club  members  ac- 
corded your  splendid  "Newman  Ballet  of  Victory"  at 
the  Waldorf-Astoria. 

Paul  Meyer, 

Chairman. 

Poor  Richard  Club,  Philadelphia. 

Your  Ballet  was  one  of  the  most  beautiful  acts  I 
have  ever  seen  anywhere. 

G.  E.  Gable, 

Manafjer. 

American  International  Ship  Building  Co. 

Your  dances  were  most  satisfactory  and  your 
reputation  for  clever  arrangement  of  steps  and  your 
abihty  in  staging  is  certainly  well  deserved.  It  is  a 
great  satisfaction  to  know  tliat  tlie  services  of  such  an 
able  artist  are  available. 

Sara  D.  Ferris. 

National  League  of  (\)mmisston  Merchaxts. 

Permit  me  to  thank  you  for  the  most  spectacular, 
refined  and  elevating  entertainment  given  at  (lie  Belle- 
vue-Stratford. 

E.  S.  Woodward, 

CJiairniaii. 


156 

Board  of  Recreation,  (^tv  Hai.l. 

Please  accept  my  nppieciation  of  your  splendid 
talk  and  demonstration  l)efore  the  teachers  of  tlie  rec- 
reation centers.  I  have  heard  many  tine  comments  on 
the  ^vork  yini  ^uave  ns  and  1  am  sure  it  will  hear  much 
good  frnit. 

,].  Leonard  Mason, 
Supcrrisor  of  Recreation. 

Leps  Symphony  Orchestra, 

It  will  he  utterly  impossihle  to  give  "Hoslii  San" 
without  a  I>allet.  An  artist  like  you,  I  am  sure,  will  be 
able  to  work  this  out  in  an  hour  or  so, 

Wassili  Leps, 
Cotiductor,  Willoic  drove,  Pa. 

Twentieth  Century  Club  Gymnasium,  Buffalo,  X.  Y. 
I  enjoyed  my  work  so  much  with  you  that  1  am 
sorry  not  to  have  been  able  to  have  more,  i  do  wish 
more  people  had  the  chance  to  avail  themselves  of  your 
instruction.  It  is  a  joy  in  itself,  not  to  speak  of  the 
beauty  of  your  Dance  Compositions  and  the  honor  of 
doing-  them  under  your  instruct i(ni. 

IIkrta  a.  Toedpen, 
Teacher  of  Dancinf/. 

Tmperlvt^  Society  of  Dance  Teachers,  England, 

Albert  \V,  Newman's  qualifications  as  a  teacher  of 
dancing  has  been  proved  by  the  Executive  Council  of 
the  Imix'iial  Society  of  England. 

Cecil   Taylor,   Pres., 
Chas.  d'Alp.ert.  Srr'i/, 

Loiidoii. 


157 


ALBERT  W.  NEWMAN 

Principal  of  the  Normal  School  of  the  l^ittsburgh 
Association  for  the  Improvement  of  Dancing. 

Originator  and  Deviser  of  the  Newman  Dancing. 

Master  of  Dancing  of  Philadalphia's  400. 

Ballet  Master  of  the  Newman  Ballet. 

Pioneer  of  the  Modern  Dance  in  Philadelphia. 

Director  of  the  Ne^^^nan  Normal  School  of  Danc- 
ing. 

Organize]'  of  the  First  Amateur  Grand  Opera  Bal- 
let in  the  AVorld. 

]\Iember  of  the  Imperial  Societ}'  of  Dancing  Mas- 
ters, London. 

Member  Academic  de  Danse,  Paris,  France. 

Dance  Director  of  the  Pageant  Society  of  America. 

Professor  of  Classical  Dancing,  Ogontz  School. 

Director  of  Dancing  and  Rhythmic  Expression, 
Philadelphia  Institute  of  Music  and  Allied  Arts. 

Ballet  Master  of  Grand  Operas,  Academy  of 
Music. 

Dance  Director  of  Wm.  Penn  High  School. 

Composer  of  over  1800  Classic  Dances  and  Ballets. 

Ballet  Master,  Philadelphia  Operatic  Society. 

Composer  of  the  Pantomimes  and  Fairy  Plays, 
"Dances  of  the  Pyrenees,"  "Legend  of  the  Golden 
Key,"  "Treasureland,"  ''Birth  ot  the  Magic  Doll," 
etc. 

Author  of  "Newman  Catechism  on  Classical  Danc- 
ing," "Dances  of  Today,"  "Practical  Instructor  of 
the  Art  of  Dancing,"  "Newman  Dance  Phrases," 
"Newman  Art  of  Toe  Dancinu-, "  "Newman  Album  of 
Classical  Dances,"  "NcAvman  Method  of  Nature  Danc- 
ing." 

Instructor  of  more  than  850  teachers. 


158 

Dance  Director  oi'  T.ocal  Theaters  for  more  than 
twenty-five  years. 

Master  of  Cerenioiiios  of  the  Annual  Charily  Balls, 
Academy  of  Music. 

Composer  of  Special  Dances  for  the  May  Day 
P'estivals  at  Bryn  Mawr  'College,  Ogontz  School, 
Swarthmore  College,  AValnut  Lane  School,  etc.,  and  the 
May  Day  Exercises  of  Public  Schools  and  Playgrounds. 

Dance  Director  of  the  Annual  Charity  Functions 
at  the  Bellevue-Stratford,  such  as  Fads  and  I'ancies, 
Fashionable  Follies,  etc. 

Dance  Director  of  the  Poor  l-Jichard  Annual  lian- 
quets. 

Formerl\'  Dance  Director  oi'  Princeton  College, 
Neff  College  of  Oratory,  Temple  University,  Herr- 
mann's Physical  Training  School,  Mt.  Vernon  Tnsti- 
lute,  etc. 

Director  of  the  Pageant  of  Nations,  Lai  ham  Park. 

Mr.  Albert  W.  Newman  was  appointed  by  the  (^ity 
Authorities  as  the  Official  Dance  Director  of  the  Pag- 
eant at  Fairmount  Park,  also  at  Franklin  Field  during 
Founders  Week,  and  the  Pageant  at  Doylestown. 


159 


NEWMAN  DANCES 

All  exceptional  collection  of  Ilighly  Artistic 
Dances,  created  by  Albert  W.  Newman,  Ballet  Master, 
Philadelphia,  carefully  selected  from  a  repertoire  of 
more  than  1800  Dances. 

Each  and  every  Dance  has  been  successfully  per- 
formed and  has  found  g-reat  favor  with  large  audiences. 

The  Dances  appear  in  a  form  most  convenient  for 
teaching  purposes,  with  explicit  descriptions,  and  com- 
prehensive diagrams  and  drawings  of  each  step,  pose 
and  movement,  readily  understood  by  even  those  of 
very  little  dance  experience,  and  especially  adapted  for 
School,  Kindergarten,  Playground  and  Exhibition  Dis- 
pla}'  AN'^ork. 

All  the  dances  are  solos,  except  those  marked  (G), 
w^hich  are  group  dances. 

Interpretative,  Greek  and  Oriental  Dances. 

Summer  Idilio  (Lack),  Butterfly  Dance  (Chopin), 
Autumn  Enchantment  (Smith),  AFeditation  (Herbert), 
Pipes  of  Pan  (Schubert),  By  the  Mill  Stream  (Smith), 
Serenata  (Moszkowski),  Humoresque  (Dvorak), 
xVnitra's  Dance  (Grieg),  Shepherd  and  Titania  (Duo), 
(Newman),  Caprice  Viennois  (Kreisler),  Satyrn  and 
Nixie  (Jewels  of  the  Madonna),  Autumn  Memoirs 
(Smith),  Pastoral  (TTeckscher),  Bacchanal  (Glazou- 
now),  Greek  Maid  Playing  Ball  (Schubert),  Romance 
(Tschaikowsky),  Natoma  (Herbert),  Spring  Song 
(Mendelssohn),  Her  First  Ball  (Berger),  The  Storm 
(G)  (Gounod),  Beautiful  Blue  Danube  (Strauss),  An 
Indian  Idyll  (Sawyer),  Sacred  Incense  Dance  (Ban- 
tock).  Charge  of  the  Amazons  (Schubert),  Orpheus 
and  Terpsichore  (Schu])ert),  Egy])tiaii  Snake  Dance 
(Adams),  The  Hunt,  The  Swan   ((iounod),  AFaturity 


160 

and  \'(»iitli,  Oaiise  d'Aiiiour,  Daiisi^  dii  Printemps  (G), 
Maid  of  Allu'Ms  ({!),  i)aiur  of  1I10  Trojan  AFaideiis 
((J),  Amiiia  ( Hnyplian ),  Moorish  C'ymbal  Dance,  Per- 
sian Dance,  Dance  of  the  "Woodnymphs,  Pas  de  Oon- 
(juest.  Prehistoric  Dance,  Grecian  \r\\  Dance,  Pl^yP- 
liaii  Seaif  Dance,  Xantch  Dance,  Barcarole  (Tales 
from  TToffman),  Bid  nie  Discourse  (Vocal  Dance), 
Dance  Thinois  (Tschaikowsky),  (*npid  and  the  Dove, 
I'avlowa-davotte  (Duo),  i*olka  \'iolette  (Duo),  Flirta- 
tion Waltz,  etc. 

Classic  and  ^Esthetic  Dances. 

The  Caress,  Intermezzo  No.  2,  In  a  Canoe,  Hide 
and  Seek,  Dream  Waltz  (Exhibition  Duo),  Pizzicato, 
Liebesfreud,  Powder  Puff  Dance,  Valse  Entrancini>', 
That  Xaui>'hty  Waltz,  Sparklets,  Innocence,  lns])ii'a- 
tion,  Intermezzo,  Danse  Classiciue,  Valse  Impromptu, 
Arietta,  La  Grace,  Polka  Caprice,  Wisteria,  Amusette, 
Tanzonetta,  Merriment,  Valse  Noble,  Kainbow  Dance, 
Awakenino'  of  Sprinii,-,  (Miase  of  the  Butterfly,  Danse 
Gracieuse,  Valse  Poetique,  In  Koseland,  Novellettc, 
Light  Fantastic,  American  Beaut\-  Waltz,  Cui)i(rs 
Garden,  May  Breezes,  Grace  and  Elegance,  Pas  de 
Zephire,  Love  "Waltz,  Arabesque,  Joys  of  Youth,  Sim- 
plicity, Polkji  i>rilliant,  Danse  Joyeuse,  In  Nature's 
Garden,  Gaiety  Dance,  Valse  Paiisicnnc,  Danse  au 
clair  de  lune,  In  the  Po])i)yfield,  Par  Ci  Par  La,  etc. 

(  ^ii.\i;a('I'Ki;isii('  1).\.\ci:s. 

La  Paitincur  (Skating),  Englisli  Munting  Dance 
(a  la  Genee),  Polish  Flirtation  Dance  (Trio),  Polka 
\'iol('tt('  (Duo),  DaiKc  of  llic  Swoidsman,  V\H'  IIoo]) 
|)aiic('  ((i),  IjMsso  Dance  (('owhoy),  Cui)id  and  the 
Dove,  Danse  Militaire,  Milkmaid  Dance  (G),  Flag- 
])ance,  Stars  and   Striprs,    Housemaid   and   Chevalier 


161 

(Duo),  Dance  of  the  Automatic  Doll,  Pierrot  and  Pier- 
rette, Fairy  Dance,  Dance  of  the  Brownies  (G),  Pa- 
jama  Dance  (G),  Old  Maid's  Dance,  American  Jockey 
Dance  (G),  Bow  and  Arrow,  Skirt  Dance,  Society 
AValtz  Clos",  A\'hip  Dance,  Buck  and  Wing,  Eccentric 
Dances,  Cake  Walk  (G),  Skipi:)ing  Kope  Dance,  Scenes 
of  Childhood  (Duo),  Quaker  Dance  (G),  Last  Rose  of 
Summer,  Soft  Shoe  Dance,  Dance  of  the  Waiters  (G), 
Chinese  Grotesque  Dance,  Fan  Dance,  etc. 

National  Dances. 

Hungarian  Czardas,  Russian  Cossack  Dances, 
Spanish  Bull  Fighter's  Dance,  Gavotte  Migiion 
(French),  Dutch  Wooden  Shoe  Dances,  Xagasackie 
(Japanese),  Highland  Flings,  Scotch  Sword  Dances, 
Irish  Lilt  (Duo),  Alpine  Dances,  Tarantellas,  Boleros, 
Hornpipes,  Polish  Dances,  American  Indian  Dances, 
Egj^ptian  Scarf  Dances,  Irish  Jigs,  Clog  Hornpipes, 
Minuets,  Gavottes,  Medley  of  National  Dances,  Jota 
Aragonesa  (G),  Tyrolienne,  Beethoven  Minuet  (Duo), 
Moriis  Dances,  Krakovienne,  Swedish  Dances,  etc. 

Toe  Dances. 

Scepter  de  la  Rose,  Paderewski's  Minuet,  Schelm 
Amor,  Goody  Two  Shoes,  Le  Secret,  Stars  antl  Stripes 
Forever,  Skipping  Rope  Dance,  Eccentric  Dance,  Toe 
Jazz  No.  1,  No.  2,  No.  8,  Shepherd  and  Titania,  Dance 
of  Peace  (Solo  and  Group),  Dying  Swan  (Saint- 
Saens),  Faust  P>allet  (Solo),  Sylvia  Ballet  (Solo),  La 
(Jiaconda  Ballet  (Solo),  Pizzicato  (Delibes),  Elfen 
Tanz  (lierhert),  \'a]iity  (Mirror  Solo,  with  4  Pages), 
Innocence,  Loin  de  Bal,  Valse  Caprice,  Naila  Ballet 
(Solo),  invitation  to  the  Dance  (Weber),  Duo  Extra- 
ordinaire, In  Fairy  Realms,  etc. 


1G2 

Newman  Playgrox^xd  Dances. 

Liberty  Polka,  Siiowflakes,  ^lilitary  Gavotte, 
Polish  Skating  Daiiee,  Irish  Lilt,  Scotch  Lassie  Dance, 
]\Iay  Pole  Dances,  Danse  des  Syli)hi(les,  Morris  Dar.ce, 
Xe^^^Ilan  Minuet,  Dream  Waltz,  Bolero,  Baden  Baden, 
Italian  Folk  Dance,  Enij,lish  lireakfast  Dance,  High- 
land Folk  Dance,  ]\Iarch  of  the  Vivandieres,  BoiKjuet 
Polka,  Weaver's  Dance,  Pas  de  Styrian. 

Ballets. 

Aida,  Faust  (Brocken  Scene),  Martha,  Les  Hugue- 
nots, Ballet  of  the  Shepherds,  Kainbow  Ballet,  Jap- 
anese Court  Ballet,  Coppelia,  Xaila,  Homage  to  Tita- 
nia,  Ballet  of  the  Pyrenees,  Vintage  Ballet,  Fete  of 
the  Roses,  Bohemian  Girl,  Cavalleria  Bnsticana  (In- 
terpolated), Fete  of  Seville,  Coronation  Festival  Bal- 
let, Grand  Ballet  of  the  White  Rose,  Gipsy  Ballet,  Car- 
men, W^illiam  Tell,  The  Birth  of  Peace  (5  Dancers  and 
Toe  Soloist),  etc. 

Triumphale  Group  Dances. 

Festal  Divertissement  (.')2  Couples),  I\'oyal  I'oio- 
naise  (32  Couples),  Colonial  j\linuet  (32  Couples), 
Shepherd's  Dance  (13  Couples),  Asiatic  Sun  Dance 
(20  Ladies),  Danse  du  Printemi)s  (10  Ladies),  French 
Folly  Dance  (8  Couples),  Court  ^liimet  (IG  Couples), 
French  Court  Dance  (with  Swords  and  Canes — 8 
C^ouples),  Bolero  (IG  Couples),  Sequidilla  (8  Couples), 
Jota  xVragonesa  (16  Ladies), 

Group  Dances  in  Plays. 

TJir  FoJloKiiifi  Xiinihcrs  Hare  /hcii  Danced  !>i/ 
Pro/('ssio)ial  Com ixuiics : 

K(mie()  and  Juliet,  As  ^'ou  Like  ll,  M  idsuiiiiiici-'s 
JS'ight     Dream,     l^osc     <»f     the      IJaiiclu),      I'alace     of 


163 

the  King,  Sweet  Kitty  Belaires,  School  for  Scandal, 
Under  Southern  Skies,  Milk  White  Flag  (all  the 
Specialties),  Don  Juan,  Madame  Sans  Gene  Killar- 
ney,  A  Contented  AVoman,  Rosedale,  The  Proud  Prince, 
The  Christian,  Lottery  of  Love,  Twelfth  Night,  Mother 
Goose,  Nutmeg  Match,  Moth  and  the  Flame,  Two  Or- 
phans, etc. 


Dance  Literature 

NEWMAN  DANCE  PHRASES 
iENCHA  INEMENTS) 

THE    KEY    TO    DANCE    COMPOSITION 
OR  DANCE  CREATION  MADE  EASY. 

Contains    hundreds   of   Ijtrautii'ul    Dance   Com- 
binations arranged  to  ever}-  rh}thm. 
Specially  adapted  for  Class  Instruction,  mak- 
ing it  suitable  for  School,  College,  and  Play- 
ground W  ork. 

It    opens    a    new    field    for    training  in  Dance 
Composition,  which  makes  the  study  of  Danc- 
ing more  Intelligent  and  more  Comprehensive. 
Absclutoly  Indispensable  to  Student  and 
Teacher. 
The  phrases  are  progressively  arranged  in  the 
form  of  20  lessons. 
Teaches  You  How  to  Compose  Your  Own 
Dances. 

JUST  THINK  OF  IT! 

If  you  wish  to  compose  a  dance,  select  a  few- 
phrases,  join  them  together,  and  you  have  a 
new  dance.  This  book  is  endorsed  by  the  lead- 
ing teachers  in  the  profession ;  furthermore, 
they  consider  it  to  be 

A  VALUABLE  ADDITION  TO  DANCE 
LITERATURE. 

It  also  contains  a  description  ^A  the  Hcautitul 

Interpretative  Dance, 

"AUTU^IX  EXCIIAXTM  I'.XT." 

Price  Complete,  $2.00. 

Send  for  the  Catalogue  of  Newman  Dances. 

NEWMAN  DANCE  PUBLISHING  CO. 

PHILADELPHIA.   PA. 


IIIIIIIIMHIIIIIItlltllllllMIIIIIIIIIIIMItMi 


Newman  Album 

of 

Classical  Dances 

14  Beautiful  Dances  With  the  Music. 

This  is  the  first  book  of  its  kind  offered.  It 
comprises  an  interesting  and  instructive  col- 
lection of  Classical  Dances  described  in  a  i)lain 
and  comprehensive  manner,  which  is  readily 
understood  by  even  those  of  very  little  dance 
experience. 

Foot  Drawings  and  Diagrams  of  All  the  Fig- 
ures, and  Illustrations  of  All  the  Movements. 

The  Dances  are  arranged  in  the  form  of  Solos, 
Group  Dances  and  Ballets,  making  them  par- 
ticularly attractive  for  Class  Work. 
I'urthermore,  they  have  been  carefully  chosen 
from  a  re])ertoire  of  bSOO  dances  and  have  been 
introduced  to  pleased  audiences  l)efore  they 
were  selected  for  this  Album. 

THE  MUSIC  IS  BY  NOTED  COMPOSERS 

AND  IS  WORTH  MORE  THAN  Tl  1 1-: 

ACTUAL  PRICI-:  OE  TIH'.   I ',()() K. 

This    Mammoth    collection    is   offered.    l)eauti- 
fully  bound. 

Price,  $3.00. 

Send  for  the  Catalogue  of  Newman  Dances. 

NEWMAN  DANCE  PUBLISHING  CO. 

PHILADELPHIA.   PA. 


NEWMAN    ART   OF 
TOE    DANCING 


Published  by  personal  request  of  many  promi- 
nent Teachers  and  the  Newman  Students  in 
general. 

AN  INSTRUCTOR  IN  TOE  DANCING. 
Fully  Illustrated. 

It  contains  a  series  of  progressive  exercises 
that  will  streng-then  the  ankles  and  toes. 
Original  Studies  that  will  produce  a  perfect 
arch  and  absolute  correct  placement.  DAILY 
ROUTINE  OF  WORK  FOR  THE  TOE 
DANCER.  Students  have  been  known  to 
acquire  the  art  of  getting  on  the  extreme  points 
in  6  lessons  by  following  carefully  the  directions 
in  this  book. 

IT  IS  THE  ONLY  BOOK  OF  THE  KIND 
PUBLISHED  AND  IS  WORTH  A  HUN- 
DRED TIMES  MORE  THAN  ITS  AC- 
TUAL PRICE. 

The  Newman  Students  have  been  personally 
congratulated  for  their  correct  placement,  by 
such  eminent  artists  as  Fokine,  Genee,  Pav- 
lowa,  etc. 

It  also  contains  a  description  of  two  attractive 
Toe  Dances, 

"THE  SECRET"  and  "THE  CLASSIC 
VALSE." 

Price,  $3.00. 

Send  for  the  Catalogue  of  Newman  Dances. 


NEWMAN  DANCE  PUBLISHING  CO. 

PHILADELPHIA.   PA. 


NEWMAN    DANCES 
OF   TODAY 


This  book  iiKiy  be  dcpciulcd  vipon  as  an  al)so- 
hitc  authority  on  Modern  Society  Dancing. 

CONTAINS  MORE  THAN  ::.   ILLLSTRA- 
TIONS. 

F.vrrv  step  is  described  by  an  up-to-date 
nu'thcid  of  (Hag-rams,  showing  exactly  how  the 
feet  should  move. 

The  most  stupid  can  learn  all  the  latest 
dances  in  a  short  time  l)y  following"  the  direc- 
tions carefully. 

0\'ER  2o,inn)  COIMI'-S  SOLD. 
Price,  $1.00. 


NKWMAN    SYSTEM    OF 
NATURE    DANCING 

A  l)ook  containin,!^'  tlu'  nulinionts  or  fundanu'iitals  ot 
Nature  Dancing,  often  referred  to  as  Interpretative 
Dancing  or  Dance  Poems.  Tlien  attain  it  is  known 
as  Greek  or  Hellenic  Dancing. 

Tliis  form  of  Dancing  is  based  upon  the  natural 
movements  of  man.  which  take  in  Posing,  Walking, 
Running,  Romping,  Leaping,  Idying.  etc. 
Xature  Dancing  differs  materially  from  most  styles 
of  dancing  in  the  respect  tliat  every  movement,  every 
step  has  a  significance  or  meaning,  it  is  devoid  of 
anything  that  is  artificial  in  other  words ;  complete 
stories  are  told  in  the  Terpsichorean  Langiaage. 
This  books  also  contains  a  description  of  tlie  Inter- 
])retative   Dance, 

"BY  THE  MILL  STREAM." 

Price,  $2.00. 

Send  for  the  Catalogue  of  Newman  Dances. 

NEWMAN  DANCE  PUBLISHING  CO. 

PHILADELPHIA.   PA. 


UNIVERSITY  OF  CALIFORNIA  LIBRARY 

Los  Angeles 
This  book  is  DUE  on  the  last  date  stamped  below. 


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UC  SOUTHERN  REGIONAL  LIBRARY  FACILIP 


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